2009 2010 Parsons Graduate Viewbook

parsons
the new school

for design
GRADUATE PROGRAMS
Found objects collected in Parsons studios (material
samples, tools, reference documents, process artifacts)
and samples of student and faculty work. STILL FRAME
(front cover, center): Faculty member Brian McGrath
and Mark Watkins, from urban-interface, Manhattan
Timeformations, exploded still-frame from interactive
web-site created for the Skyscraper Museum, 2000.
INTERIOR IMAGE (back cover, lower right): Amanda Toles
and Martina Sencakova, 25 E.13th Street, digital rendering,
2008. Collage by mgmt. design.
parsons
the new school
for design
GRADUATE PROGRAMS
4 Welcome to Parsons
16 Academic Resources
19 Student Services
20 Exhibitions and Public Programs
25 Programs of Study
26 Architecture
40 Design and Technology
52 Fine Arts
64 History of Decorative Arts and Design
76 Interior Design
86 Lighting Design
98 Photography
110 Institutional Information
111 Visit
112 Apply
Why Parsons The New School for Design?
Parsons, a pioneer in art and design education for more than a century, is a diverse
community of independent thinkers motivated by the prospect of challenging
conventions and finding solutions to complex problems.
Although our graduate programs offer advanced training in specialized courses

of study, none of our programs exists in isolation. Our student-centered curriculum
allows for both focused and interdisciplinary paths of study. Students from all
backgrounds collaborate on projects, influence one another’s work, and interact in
every aspect of academic and campus life. They work both in teams and on their
own to master concepts, technologies, and research methods that cut across a wide
array of fields. By synthesizing theory with craft and combining art and design studies
with instruction in liberal arts and business, Parsons prepares its students to shape
scholarship in their fields and make art and design that matters.
Our faculty of notable artists, design practitioners, critics, historians, writers, and
scholars exemplifies an extraordinary breadth of vision. They challenge con-
vention by encouraging experimentation, nurturing alternative worldviews, and
joining theory with practice in sophisticated and innovative ways. Working closely
with the faculty, graduate students develop technologies and refine research
methodologies, making design relevant to a wide range of social, cultural, and
economic systems.
Even as Parsons gives students the tools to achieve professional success, the
school also prepares them to think outside current paradigms. Students learn to
anticipate and set trends, not follow them, and discover how design can inform and
improve people’s lives in direct and fundamental ways. Students arrive here with
diverse interests, perspectives, experiences, and backgrounds; they graduate with
a commitment to creatively and critically addressing the complexities of life in the
21st century.
Learn more at www.newschool.edu/parsons.
4 PARSONS THE NEW SCHOOL FOR DESIGN

newschool.edu/parsons
ARCHITEC
ECTURE
LIGHT
TING
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DESIGN
INTERIOR
DESIGN
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HISTORY OF
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CORATIVE ARTS
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AN
ND DESIGN
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PARSONS
THE NEW SCHOOL
FOR DESIGN
FINE A R TS
PHOTOGRAPHY
DESIGN AND
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TECHNOLOGY
Parsons in The New School
A Long History of Radical Pedagogy
As a division of The New School, Parsons builds on the university’s legacy of

progressive ideals, scholarship, and pedagogy. The New School provides the ideal
learning environment for those interested in connecting art and design practice
with social responsibility and a commitment to sustainability. It offers degree and
nondegree programs in the social sciences, the liberal arts, management and urban
policy, and the performing arts. Parsons students are encouraged to take courses in
and collaborate with students from other schools within the university.
Parsons’ tradition of supporting radical thinking in the art academy goes back to
1896, when painter William Merritt Chase founded the school to promote freer forms
of individual expression. In 1904, Frank Alvah Parsons joined Chase, and under his
leadership, the school introduced design into its curriculum. By emphasizing the
democratizing potential of design and making it available on a broad scale, Parsons
has had a profound impact on American life.
As Parsons was becoming a revolutionary force in art and design education, another
school was launched in the name of social dissent and democracy. Established in 1919,
The New School was conceived as a place where intellectuals could freely exchange
ideas. The next decades saw both schools become closer aligned in mission. As The
New School established a reputation for addressing major cultural and political issues,
Parsons became involved in urban design projects such as hospitals and public housing.
In 1970, Parsons became part of The New School, which today is a university of eight
likeminded schools. Some of the earliest university-level courses on race and black
culture, urban studies, film history, women’s studies, and photography and the first
college programs in fashion design, interior design, and advertising were offered at
The New School and Parsons respectively. Our shared history has been a continuous
narrative of transformation, pioneering education, and civic engagement.
Notable PArsons Alumni
Peter de Sève illustrator Steven Meisel photographer

Victoria Hagan interior designer Paul Rand graphic designer
Edward Hopper painter Narciso Rodriguez fashion designer
Donna Karan fashion designer Joel Schumacher filmmaker
Barbara Kruger artist and Brian Tolle artist
graphic designer
Alex Lee product designer and
president of OXO

MANNES COLLEGE
THE NEW SCHOOL
FOR MUSIC
THE NEW SCHOOL
THE NEW SCHOOL

FOR
SOCIAL RESEARCH
MILANO
PARSONS THE NEW SCHOOL
FOR MANAGEMENT
AND URBAN POLICY
THE NEW SCHOOL

FOR JAZZ AND
CONTEMPORARY MUSIC THE NEW SCHOOL
FOR
GENERAL STUDIES
EUGENE LANG COLLEGE

THE NEW SCHOOL THE NEW SCHOOL
FOR DRAMA FOR LIBERAL ARTS
Parsons in New York
Your campus is New York City, THE world capital of art, culture, business, fashion, and
intellectual INQUIRY.
A Parsons education isn’t just a series of isolated classes—it’s a fully immersive

learning experience in which the city itself serves as an urban design laboratory.
Our distinguished faculty is a team of accomplished artists, designers, architects,
photographers, and critics that could have been assembled only in a design capital
like New York. Outside the classroom, students have access to unparalleled internship
opportunities and industry partnerships, which open up many possibilities for
entrepreneurship and professional success.
Situated in the heart of Manhattan, the Greenwich Village campus is a major cultural
destination in its own right, a venue for exhibitions, performances, and lectures by
some of the world’s most celebrated artists and thinkers. In addition to enjoying all
the resources on campus, students have access to the galleries, showrooms, and
events of New York City, the nexus of the international art and design worlds. In every
respect, Parsons gives students the opportunity to excel at the center of it all.
Applicants are encouraged to visit. Learn about tours, information sessions, graduate
open studios, and more at www.newschool.edu/parsons/visit.

COOPER-HEWITT,
NATIONAL DESIGN MUSEUM
AMERICAN MUSEUM OF THE METROPOLITAN MUSEUM OF ART

NATURAL HISTORY
LINCOLN CENTER THE GUGGENHEIM MUSEUM
CENTRAL PARK THE WHITNEY MUSEUM
MoMA
BROADWAY
NEW YORK CITY

GARMENT DISTRICT
CHELSEA GALLERIES
PARSONS THE PUBLIC THEATER
THE NEW MUSEUM
SOHO
LOWER EAST SIDE
TRIBECA FILM FESTIVAL
FINANCIAL DISTRICT
Parsons in the World
Based in New York; active across the globe
At Parsons, we believe that designers have the means and a responsibility to bring
about positive change in the world. Our students develop art and design solutions
to meet the needs of diverse communities on the local and the global scale. They
connect their creative practice with engaged citizenship, bringing social and
environmental consciousness to the works they create. They work in a learning
environment where cross-cultural perspectives are valued and nurtured and where
awareness of economic and social systems is understood as essential in the context
of globalization. Our graduate programs are infused with the progressive spirit that
animates Parsons and The New School as a whole.
An international outlook has always been a key ingredient of Parsons’ success. In

1920, Parsons became the first art and design school in the United States to establish
a campus abroad. Today, more than 30% of our students are international—a
testament to our global reputation. While benefiting from the constant influx of
BEIJING
international perspectives in New York, many Parsons students expand their horizons
by conducting fieldwork abroad and by partnering with global organizations through
TOKYO
sponsored projects built into the curriculum.
Parsons collaborates with more than 50 corporate and nonprofit organizations, such
as CARE, Target, the Open Society Institute, Kiehl’s, Chanel, Fossil, and the Sierra Club.
OK
We maintain those partnerships, and attract new ones, thanks to the exceptional
work of our students. Our partners benefit from fresh ideas and cutting-edge design
skills; our students gain professional exposure, build their portfolios, and enjoy
networking opportunities.
SYDNEY
MELBOURNE

STOCKHOLM
VILINUS
WARSAW
COLOGNE
LONDON
KASSEL
PARSONS PARIS
ROME/PRATO/
FLORENCE/MILAN
ALTOS DE CHAVON
GUATEMALA
LILONGWE
GABORONE
JOHANNESBURG
welcome
A Message from the Dean
This is an opportune time to study at Parsons and The New School. The world
is being designed and redesigned at a dizzying pace, creating complex and
rapidly changing landscapes of opportunity for artists and designers whose
skills, creativity, and perseverance define them as critical thinkers and problem
solvers. Designers are uniquely trained and well positioned to engage with the
most challenging issues of our time, and design thinking is increasingly being
recognized as a core literacy in the 21st century. The ability to creatively assess,
reposition, imagine, and propose innovative designs for the world we inhabit
and leave to future generations is essential for new thinking about sustainability,
mobility, communication, dwelling, and cities to emerge.
At Parsons, we expand the frontiers of design, addressing needs at scales

ranging from the individual to communities across the globe. Whether you are
interested in digital design or fashion design, the narrative arc or the visual and
sensual world, the design of the everyday or the sustainable transformation
of large, complex systems, at Parsons you will find a home and a challenge.
Parsons’ five schools—Art, Media and Technology; Fashion; Constructed
Environments; Art and Design History and Theory; and Design Strategies—are
characterized by disciplinary strength and cross-disciplinary innovation. Our
programs span the range of contemporary art and design practices as well as
new interdisciplinary pathways, and degrees in areas like environmental
studies, urban design, and media. And as part of The New School, Parsons
offers a diverse and comprehensive education at the intersection of design, the
liberal arts, the social sciences, performance, management, and urban policy.
Every day I am inspired by Parsons’ remarkable faculty and students. Witnessing

their many accomplishments constantly renews and deepens our commitment
to design education and research. In the following pages, you will learn more
about the school. I hope you will join us.
Joel Towers, Dean
(facing page) Dorin Levy, Migration, paper and fishing wire, Fine Art
Academic Resources
Program advisors are a primary resource for information, including program
requirements, academic progress, and school policies. Advisors also refer students
to university facilities and services in addition to those offered by specific academic
programs. Parsons and The New School offer students resources that provide optimal
conditions for learning.
Technology Libraries
–Students have access to more than 1,000 –At the Donghia Materials Library, students
computer workstations on campus; the can review and check out the newest, most
print output center, which offers high-quality advanced materials.
color printing; and specialized labs with
–The Gimbel Art and Design Library houses more
professional video, modeling, animation,
than 50,000 new and rare books, 350 periodical
and recording facilities.
titles, 70,000 slides, and 45,000 picture files,
–Special classrooms support multimedia, including mounted plates, slide collections, and
Web design, and desktop publishing. a digital image collection with online access.
–Free wireless Internet is available –The Kellen Archive is an extensive collection

across campus. of materials relating to the history of art and
design, with a focus on Parsons’ role in the
–Audiovisual equipment is available for loan.
development of design and design education.
Exhibition and Studio Facilities –The New School’s Fogelman Library specializes
–The Sheila C. Johnson Design Center is a in the social sciences and humanities.
new campus center for Parsons that combines
–Parsons students have access to the facilities
spaces for learning and public programs with
of the Research Library Association of South
galleries at the busy intersection of Fifth Avenue
Manhattan, also known as the Consortium. It
and 13th Street.
consists of research libraries at The New School,
–Students have access to extensive studio New York University, Cooper Union, Cardozo
facilities and professionally staffed fabrication, Law School, the New York Academy of Art, and
model, and print shops, including metalworking, the New-York Historical Society. The combined
jewelry, and woodworking facilities. libraries hold more than three million volumes
and 25,000 journals.
16 STUDENT LIFE
STUDENT LIFE
MEETING WITH NEW YORK CITY
COUNCIL ON THE ENVIRONMENT
Gain valuable industry experience
working on sponsored projects with
local companies and organizations.
INVITATION TO
EXHIBITION OPENING
FINE ART LECTURE SERIES FLYER
Exhibit your work at
Interact with the prominent
high-profile venues.
artists and designers who
are your guest lecturers and
visiting critics.
INTERNSHIP PLACEMENT
Build your resume
working directly with
designers and clients.
STUDENT RUN NEWSPAPER

Participate in extra-curricular
activities like media and 
journalism projects.
Student Services
A professional and helpful staff is available to meet a range of needs, including health
care and housing. Visit www.newschool.edu/studentservices for more information.
Housing International Student Services
The New School offers a number of housing This school is authorized under federal law to
options for graduate students. The university enroll non-immigrant-alien students. Interna-
housing office can provide information about tional Student Services serves the special needs
housing on and off campus. of international students and helps create a
supportive environment for living and study-
Health Services ing, encouraging them to participate actively in
Student Health Services offers students medical classes, extracurricular activities, and life
care, counseling and psychological services, in New York City. Trained international education
preventive education, and a low-cost health specialists provide support throughout the
insurance plan. U.S. visa application process and offer legal
status advisement.
Student Development and Activities
Intercultural Support
At any given time, students at the university are
involved in a variety of activities, ranging from The Office of Intercultural Support works with
publications to clubs to athletics to political students of diverse backgrounds to build
activism. Many extracurricular organizations are community at The New School. The office
student run. sponsors events and workshops to promote
intercultural awareness.
Disability Services
Parsons and The New School are committed to

ensuring that students with special needs have
full access to academic and programmatic
services. Students are encouraged to meet with
the Office of Student Disability Services to discuss
their needs. The office also offers information
on a variety of disability-related issues and on
internal and external resources.
STUDENT LIFE 19
Exhibitions
Parsons is a leading venue for contemporary art and design. Exhibitions relating to
coursework enhance students’ critical, theoretical, and historical understanding of
art and design.
Galleries are scheduled year-round with exhibitions of work by outside artists and
designers, Parsons faculty, and Parsons students. Our exhibitions program supports
our mission by focusing on innovation, interdisciplinary design, social responsibility,
and technology. Parsons has two main street-level museum-quality exhibition
spaces totaling more than 6,000 square feet: the Kellen Gallery and the Arnold and
Sheila Aronson Galleries. Exhibitions may be curated by university staff and faculty,
or they may be traveling shows. As a venue to showcase student work, the galleries
enable students to obtain construction, installation, and presentation experience in
a high-profile exhibition setting. Every spring, Parsons departments exhibit the work
of their graduating students.
20 STUDENT LIFE
STUDENT LIFE 21
Lectures, Events, and Public Programs
Parsons and The New School have historically been centers for innovative think-
ing and artistic experimentation. The tradition continues today, with promi-
nent intellectuals, designers, artists, business leaders, and policy makers regularly
visiting the campus to lecture and take part in panels and conferences. Many New
York based artists welcome studio visits from our students. Other university events
include regular concerts, dance performances, plays, film screenings, and literary
readings. Most events are free or discounted for students. For more information, visit
www.newschool.edu/eventlist.
SOME Recent guest lecturers and visiting artists
Lorna Simpson artist and photographer

Frank Gehry architect
Kiki Smith artist
Marc Jacobs fashion designer
Chuck Close painter
Roselee Goldberg performance art curator and critic
Marilyn Minter painter
Bruce Mau graphic designer
Michael Graves architect and product designer
Donna Karan fashion designer
Robert Massin graphic artist
Phoebe Washburn installation artist
Fatimah Tuggar artist
John Maeda graphic designer and computer scientist
Ed Koren illustrator
Ed Sorel illustrator
Ken Johnson critic
Lynne Cook curator
Katha Pollitt poet and columnist for The Nation
Bruce Nussbaum Businessweek editor
Zach Feuer gallery owner
Becky Smith gallery owner
Hans-Ulrich Obrist curator
Nancy Princenthal critic
22 STUDENT LIFE
PROGRAMS
SKYPE CHAT WITH A PROFESSOR IN ANOTHER COUNTRY
Parsons is a global institution; our faculty and
students come from all over the world and all kinds
of backgrounds.
TRANSCRIPT FROM
SUSTAINABLE
FASHION ROUNDTABLE
SEMINAR READER People at Parsons
FROM GLOBAL connect design
REFERENCE TEXTS ISSUES IN DESIGN decisions with larger
FOR AN URBAN Art and Design Studies social, economic,
STUDIES COURSE AT courses give you and cultural issues,
THE NEW SCHOOL the knowledge to like sustainability.
Choose your liberal understand your own
studies electives work in a historical/
from some of the intellectual context.
most interesting
and innovative
courses offered at
any university.
Graduate Degree Programs
Master of Architecture
Master of Architecture/Master of Fine Arts in Lighting Design (dual degree)
Master of Fine Arts in Design and Technology
Master of Fine Arts in Fine Arts
Master of Arts in the History of Decorative Arts and Design
Master of Fine Arts in Interior Design*
Master of Fine Arts in Lighting Design
Master of Fine Arts in Photography
Graduate Degree Programs in Development*

Master of Arts in Fashion Studies
In this groundbreaking program, students will engage in the evolving field of fashion scholarship.
They will explore fashion as object, image, practice, theory, and concept using an interdisciplinary
approach, and develop a critical understanding of its complex global intersections with identities,
histories, and cultures in the contemporary world.
Master of Fine Arts in Transdisciplinary Design

Graduate students in this experimental design program will work in multidisciplinary teams to
explore new models of practice that engage projects whose complexity challenges traditional
disciplinary approaches.
Master of Fine Arts in Fashion Design and Society

This advanced studio-based program in fashion design will encourage students to confront real-world
challenges in the fashion industry while developing their capacities not only as outstanding designers,
entrepreneurs, and scholars, but also as engaged global citizens.
Master of Science in Design Management

This new, agile online graduate degree program will provide practicing designers with the new business
development skills needed to put them ahead in competitive times. Courses cover the fundamentals of
managing people, projects, and finances in the contexts of digital entrepreneurship, sustainable design,
and service design.
Parsons offers graduate programs in a number of disciplines for qualified designers

and artists who wish to pursue advanced studio work and research. Students enjoy
the benefits of study with a renowned faculty of working professionals in a diverse
learning community based in New York City. While Parsons offers specialized courses
of study, the emphasis is on cross-disciplinary work: Students collaborate both with
faculty and with students in other divisions of The New School, as well as high-profile
companies and institutions, on projects that address real-world challenges. Parsons’
tradition of civic engagement and collaboration prepares students to become
successful, socially aware practitioners and scholars in their fields and in today’s
increasingly global context. In development are several dynamic interdisciplinary
programs that reflect a new understanding of design as a connective practice.
* New York State approval pending.
PROGRAMS: OVERVIEW 25
ARCHITECTURE
The Master of Architecture program (accredited by the National FACILITIES AND RESOURCES
Architecture Accrediting Board) trains architects to deal with critical Students work in a large open-studio
issues involving the built and natural environment. The rigorous loft where they develop projects in
consultation with faculty and peers. The
curriculum applies design, history, theory, sustainability, and
5,000-square-foot space is supported
technology to investigate by wireless technology, allowing direct
access to printing and plotting in the
—The integration of design and material construction adjacent 25-station computer labora-
—The ecology of technological and natural systems tories. A curated materials library and
—The capacity of architecture to shape social interaction a staffed fabrication shop with digital
and traditional equipment are located
in space
next to the studio. Use of the Fine Arts
—The relationship between space, the body, and department’s nearby fabrication shops
sensory perception is encouraged and promotes valu-
able exchanges with students in other
—The use of digital technologies and new media in design
disciplines.
Using New York City as a laboratory, students explore
contemporary architectural ideas and practices, particularly the
creative role played by architects in translating the ordinary and
the everyday into extraordinary works of architectural invention.
Students can supplement their studies with offerings from other
programs at Parsons—particularly Interior Design, Lighting Design,
and Product Design—and other divisions of The New School.
One of the Architecture program’s highlights is the Design

Workshop, a unique “design-build” offered in the spring semester
of the second year. In the Design Workshop, students learn
about materiality, detail, and form and space making in relation
to social practice. Over a six-month period, students explore the
architectural design process by working together on a single
project from concept through construction.
The program’s small size (72 students) and atelier atmosphere

support an intimate community. Students work closely with the faculty
of 40 distinguished professional architects, historians, and critical
theorists drawn from New York’s international design community.
26 ARCHITECTURE
ARCHITECTURE 27
Students interested in both architecture and lighting design LECTURES, SYMPOSIA,
can earn a unique dual degree. The MArch/MFALD is a 142- AND EXHIBITIONS
credit program that prepares students for extraordinary career Every semester, the department sponsors
opportunities in these expanding and overlapping fields. a rich array of public events, including a
series in which groups of students meet
For complete curriculum, faculty, and course information, visit with world-class designers, typically at
www.newschool.edu/parsons and go to Degree Programs: the site of an ongoing project. Recent
guest lecturers and critics have included
Graduate, Architecture.
Julie Bargmann D.I.R.T. Studio
CURRICULUM
Petra Blaisse interior designer
The Master of Architecture curriculum integrates design, theory,
James Carpenter
technology, and practice. The Design Studio, the core of the James Carpenter Design
curriculum, uses New York City and its environs as a context for Lise Ann Couture and Hani
exploring the natural and social ecologies that make up the Rashid Asymptote
contemporary city. The studio sequence challenges students to Dennis Crompton Archigram
respond to the formal and cultural demands imposed by uses, site, Diller + Scofidio and Renfro
context, structure, construction, and program. Interdisciplinary architects
electives in history, theory, and technology highlight architecture’s Blakrishna Doshi architect
pivotal role in shaping culture. Winka Dubbledam Architectonics

Peter Eisenman
First Year Design Studio I introduces fundamental architectural Eisenman Architects
issues—form, program, site, materials, and structure—through Ken Frampton Columbia University
projects that emphasize the inventive and conceptual dimensions Richard Gluckman
of architectural design and research. Design Studio II addresses Gluckman Mayner Architects
the role of architecture in constructing social relations by asking Charles Gwathmey

Gwathmey Siegel & Associates
students to reconsider one of the most familiar architectural
Thomas Herzog Herzog + Partner
spaces—the home. In Representation and Spatial Reasoning,
Sheila Kennedy
students explore techniques of architectural representation
Kennedy Violich Architects
and develop the ability to think, draw, and analyze architecture
Sulan Kolatan
critically, using both analog and digital technologies. Kolatan/MacDonald Studio
Jamie Lerner
Students complement their studio work with Issues and Practices
International Union of Architects
of Architecture, Modern and Postmodern Architecture, or Imagining
Bruce Mau graphic designer
New York. These and other elective courses are cross-listed with the
William McDonough
MFA in Lighting Design, facilitating exchange between disciplines. McDonough Architects
Guy Nordenson Engineer
Students take Construction Technology I in the fall and the
Enrique Norten TEN Arquitectos
environmental theory course Nature in Environment in the spring.
Lyn Rice Lyn Rice Architects
Second Year In Design Studio III, students execute designs for Michael Sorkin architect
modestly scaled buildings in relation to their physical settings. Susan S. Szenasy
Calling into question the traditional opposition between nature Metropolis Magazine
and culture, this studio invites students to explore the complex Rafael Viñoly architect
relationship between design, technology, and sustainability. In the Marion Weiss and Michael
Manfredi architects
second year, students also take a yearlong course on structural
Tod Williams and Billie Tsien
statics and materials.
architects
Adam Yarinsky
Architecture Research Office
28 ARCHITECTURE
In the fall, students take Theory of Architectural Form, which ELECTIVES
introduces contemporary theories of architecture with emphasis Architecture students take two electives
on post-1968 developments in architectural thought and criticism. from the Architecture, Interior Design,
and Lighting Design curriculum to
Students have three options for Design Studio IV, which they take
enrich their field of study.
in the spring: they can take the Gravity Studio, co-taught by an
They choose two additional electives
architect and an engineer; the Daylighting Studio, part of the from other Parsons or university gradu-
Lighting Design curriculum; or the Design Workshop, which offers ate curricula.
a rare opportunity to collaborate on a real project from schematic
NAAB STATEMENT
design through construction. Taken in conjunction with Construction
In the United States, most state registra-
Technology II, the Design Workshop focuses on how materials
tion boards require a degree from an
and construction shape our cultural and tactile understanding accredited professional degree program
of space. as a prerequisite for licensure. The NAAB,
the sole agency authorized to accredit
Third Year In Design Studio V, a prominent practicing architect U.S. professional degree programs in
architecture, recognizes two types of
leads a thematic urban and architectural design studio related
degrees: the Bachelor of Architecture and
to his or her professional interests. Students also participate in the Master of Architecture. A program
Research Seminar: Cities and Details and Theory of Urban Form, may be granted a five-year, three-year, or
which focuses on contemporary and historical urban design. two-year term of accreditation. Master’s
degree programs may consist of a pre-
In Design Studio VI, taken in the final semester, students execute professional undergraduate degree and
a professional graduate degree, which,
an independent thesis in a supervised studio devoted to
when earned sequentially, make up an
investigating a specific program and a New York City site. Each accredited professional education. The
student designs a complex multifunctional urban building. Students preprofessional degree is not, by itself,
recognized as an accredited degree.
also take Professional Practice, which prepares them for entry into
the professional world. ADMISSION INFORMATION
Admission to the program is handled

TWO STUDY OPTIONS
directly by the School of the Constructed
Accredited by the New York State Board of Regents and the Environments (product, lighting,
National Architectural Accrediting Board (NAAB), Parsons offers architecture, and interior design). Email
aidladmission@newschool.edu for
two professional degree options in architecture.
information. Applicants are encouraged
to visit and to attend final reviews in
First Professional Degree Students with a BFA or BA degree
mid-December and early May. Call
pursue a three-year (106 credits) course of study leading to 212.229.8955 to make arrangements.
a first professional degree. At least one college-level course in
calculus, one in physics, and one in the history of architecture
are prerequisites. Students without a design background are
also required to take the Parsons summer intensive studio or an
equivalent course elsewhere. For more information, visit
www.newschool.edu/parsons and go to summer programs.
Postprofessional Degree Students who already hold a BArch

first professional degree or a foreign equivalent typically enroll in
the one-and-a-half-year postprofessional degree program (54
credits), a flexible course of study that allows students to custom-
design a program to suit their academic interests. This course
of study begins in the spring and continues for three semesters,
allowing students to take advantage of the Design Workshop and,
if they wish, to spend a summer working in New York City between
years of study.
ARCHITECTURE 29
CASE STUDY: mARGARETVILLE DESIGN WORKSHOP
For 50 years, the Margaretville Pavilion in upstate New York has
been a vital community symbol and gathering place, hosting
festivals and other community events. Recently, after serious
flooding rendered the structure unstable, Parsons students in the
Design Workshop were mobilized to design and construct a new
5,000-square-foot pavilion. The structure they built (see below) has
since become an iconic centerpiece of the town’s revitalization.
Other recent Design Workshop projects include a convertible art

space for the Lower Manhattan Cultural Council; a lobby and
gallery renovation for Common Ground, a nonprofit housing and
community development group; a prototype field house for the
New York public school system; and Infowash, a laundromat-cum-
information center in DeLisle, Mississippi, that offers assistance to
Hurricane Katrina survivors.
30 ARCHITECTURE
Leah King
Student
architecture
Along with her classmates in the Design Workshop at Parsons, Leah King
brought the Margaretville Pavilion—a 5,000-square-foot community
center with an outdoor pavilion, an enclosed kitchen, a deck, and a
tower—to life. Leah explains that the “design-build” program is one of
the reasons she chose to study at Parsons and is her favorite aspect of the
architecture curriculum overall.
Through her coursework at Parsons, Leah was introduced to the
concept of sustainable design, which became a major component of
her master’s thesis. “I explored smart materials and new technologies
as a way to improve the efficiency of space, light, air, water usage, and
heating in housing units. I focused on Harlem, an area undergoing
transition and gentrification. There, I found a way to modify the
traditional brownstone with a skin structure that allows for these
physical and environmental changes while accommodating the
changing social trends of the neighborhood.”
According to Leah, New York City provides the perfect setting for the
study of architecture. She says, “Classes take advantage of the diversity
and significance of New York architecture. We took all kinds of field
trips and walking tours; we even took a ferry tour of the Gowanus Canal,
something most people never do!”
left Maiko Shimizu, 33rd St. Care House, right top Gregga Kailin, MRFex, material
multi-generational housing complex, recovery facility, Hudson River Park Pier 40,
architectural model NYC, architectural model
right bottom Perla Kristinsdottir, 125th St.

Transit Hub, large urban public subway station,
NYC, digital rendering
ARCHITECTURE 33
Danny Wong, Airport Extension, an
experiment in branding an enclosure
system, JFK Airport terminal 8 & 9,
NYC, architectural model
34 ARCHITECTURE
left top Jessica Birnbaum, Yankee right Megan Hurley and Hrolfur Cela,
Baseball Stadium, large urban sports arena, NYU Residence Hall, faculty/student housing
architectural model complex, mixed media rendering
left bottom Douglas Segulja & Ian Mueller,

NYU Residence Hall, faculty/student housing
complex, architectural model
ARCHITECTURE 35
Architecture Faculty
William Morrish dean, School of Constructed Sunil Bald partner, studioSUMO. Awards: Young Architects,
Environments; architect; urban planner; architectural ACSA, Fulbright, AIA. Published: Architecture, Architectural Record,
historian. Scholarly focus: sustainable urban infrastructure Frame, GA Houses, Wallpaper, Domus, Oculus. Lectures and exhibi-
and an interdisciplinary approach to the design of cultural tions: Project Row Houses, Houston; GA Gallery, Tokyo; Young
ecologies; new housing models; global urbanization and Architects Forum at the National Building Museum, Washington,
climate change. Projects: Phoenix Public Art Works program, D.C.; Urban Center, New York; University of Texas, Austin; Cornell.
team THINK’s proposal for rebuilding the World Trade Center, BA, University of California at Santa Cruz; MArch, Columbia.
design assistance on plans for rebuilding New Orleans, and a
Stella Betts partner, Leven Betts Studio. Awards: AIA
comprehensive review of the United Nations Habitat for Human
Settlements Program’s global work plan. Publications include Design Award (2003 and 2004), I.D. Annual Design Review,
Civilizing Terrains: Mountains, Mounds and Mesas; Building for the Metropolis Next Generation Prize, Architectural League Young
Arts: A Guidebook for the Planning and Design of Cultural Facilities Architects, IES Lumen Award. Published: Dwell, Architectural
(co-author); Planning To Stay: Learning to See the Physical Features Record, I.D., Surface, Interior Design, House & Garden. Lectures and
of Your Neighborhood (co-author); Growing Urban Habitats: Seeking exhibitions: Architectural League, Center for Architecture, BAC,
a New Housing Development Model (co-author); and “After the MacDowell Colony, Colgate University. BA, Connecticut College;
Storm: Rebuilding Cities upon Reflexive Infrastructure,” Social MArch, Harvard.
Research. BArch, University of California, Berkeley; MArch Laura Briggs partner, BriggsKnowles Architecture+Design.
(Urban Design), Harvard Graduate School of Design.
Projects include speculative work on the city and research into the
Joanna Merwood director of academic affairs, School integration of photovoltaic and interactive energy technologies
of Constructed Environments. Architectural historian. into building surfaces. Published in: A+D, Metropolis, New York
Published: “Western Architecture: The Inland Architect, Times, Dwell, Dwell-TV, Domus. Lectures and exhibitions: Cornell,
Race, Class and Architectural Identity,” “Chicago Is History,” Columbia, RISD, University of Michigan, Kent State, International
“The Mechanization of Cladding: The Reliance Building and Solar Energy Society, American Solar Energy Society, Storefront
Narratives of Modern Architecture.” BArch, Victoria University
for Architecture, Van Alen Institute. BFA and BArch, RISD;
of Wellington; MArch, McGill; MA and PhD, Princeton.
MArch, Columbia.
David Leven director, MArch program; partner, Leven Betts.
Eric Bunge principal, nARCHITECTS. Awards: Architectural
Awards: Architectural Record’s Design Vanguard, Architype
League Emerging Voices, Canadian Rome Prize, Architectural
Review, IES Lumen, four AIA NYC Awards, I.D. Annual Design
Record Design Vanguard, MoMA/P.S.1. Young Architects, NYFA
Review, Architectural League of NY’s Young Architects
grant. Published in: New York Times, Earth Buildings, City Limits:
Forum. Lectures and exhibitions: Architectural League of NY,
Young Architects 3, Metropolis, Architectural Record, L’architecture
Deutsches Architekturmuseum, Syracuse University, Center
d’aujourd’hui. Exhibitions: Economy of the Earth, ArchiLab,
for Architecture, University of Kansas, Chicago Institute of Art.
Orléans, France; New Hotels for Global Nomads, Cooper-Hewitt,
Published: Architectural Record, Young Americans, Ultimate New York
National Design Museum. BArch, McGill; MArch, Harvard.
Design, New Minimalist House, Dwell. BA, Colgate; MArch, Yale;
coursework, Institute for Architecture and Urban Studies. Dilip da Cunha principal, Mathur/da Cunha, a landscape,
planning, and architecture firm. Research focus: landscape as a
Kimberly Ackert principal, Ackert Architects. Awards:
shifting, culturally layered condition. Awards: Young Architects
Mercedes T. Bass Rome Prize in Architecture. Published: 40 Under
Award. Books: Mississippi Floods: Designing a Shifting Landscape;
40, New York Times Magazine, Green Architecture USA, Interiors,
Deccan Traverses: The Making of Bangalore’s Terrain. BArch,
Architectural Review, Architecture Australia, House & Garden.
Bangalore University; MHousing, SPA, New Delhi; MCP, MIT;
Projects: Monier Design Commission, Villa Almonte Sea
PhD, University of California, Berkeley.
Ranch, Faith Assembly Church. BArch, California Polytechnic
State University. Natalie Fizer principal, Fizer/Forley Design. Exhibitions:
Artificial Memory, a survey history of memory devices; The
Matthew Baird principal, Matthew Baird Design.
Democratic Monument in America 1900–2000, a traveling exhibit
Publications: GA Houses, New York Times, New York magazine.
on the monuments and trails of the 20th-century American land-
Projects: Museum of American Folk Art (with Tod Williams
scape; Opening the Oval, a timeline history of the interior of the
Billie Tsien Architects). BA, Princeton; MArch, Columbia.
White House. Grants: New York State Council on the Arts, NYFA.
Published: Interior Design, New York Times, Paper, New York maga-
zine. BA, Rutgers; BArch, Cooper Union; MArch, Princeton.
36 ARCHITECTURE
Carlo Frugiuele partner, Urban Office Architecture. Awards: Harriet Markis PE partner, Dunne & Markis Consulting
Europan 7 First Prize, Robbins Elementary School Competition, Structural Engineers, structural engineer on projects ranging
Villafranca New School First Prize, Town Hall of Ornago First from new construction to existing structures to restoration
Prize. Published: Europan 7, Architectural Record, l’Arca. Lectures: work on landmark buildings. Affiliations: ASCE, SeoNY. BSCE,
NJIT, Anahuac Universidad, Europan 7. BArch, Politecnico di Rensselaer Polytechnic Institute. MEng, Cornell.
Milano; MDes, Columbia. Jonathan Marvel principal, Rogers/Marvel Architects.
Jean Gardner activist, writer, architecture, and landscape Projects: Governors Island park and public space, NY Stock
historian; consultant on sustainable design issues; founding mem- Exchange streetscape, urban plaza for 55 Water Street, Battery
ber, Environment ’90, Earth Environmental Group. Co-author: Park streetscapes, Higgins Hall at Pratt Institute, Studio Museum
Cinemetrics: Architecture Drawing Today. Author: Urban Wilderness: in Harlem. Awards: AIA NY Chapter Medal of Honor, Municipal
Nature in New York City. Teaching experience: Columbia, Pratt, and Arts Society, Boston Society of Architects, Architectural League
Cornell. BA, Smith College; MA, Columbia. of NY Emerging Voices, Interiors Design Award. Published:
James Garrison principal, Garrison Siegel Architects, a firm Architectural Record, New York Times, Interior Design, Metropolis, I.D.,
with an emphasis on high performance and sustainable designs. ANY, A+U, Quaderns. BA, Dartmouth; MArch, Harvard.
Awards: Chicago Athenaeum American Architecture Award, Michael McGough vice president, Laszlo Bodak Engineer, PC;
GSA Citation for Design Excellence, AIA/NYS Honor Award, AIA/ managing director, LBE International, Ltd.; registered profes-
NYC Building Award. Published: Architecture, Architectural Record, sional engineer in the state of New York; certified expert witness in
Contract, Oculus, Real Estate Weekly. BArch, Syracuse. forensic engineering. Affiliations: American Society of Mechanical
Douglas Gauthier principal, Gauthier Architects. Engineers; American Society of Heating, Refrigeration, and Air
Awards: MoMA Home Delivery exhibition, Architecture League Conditioning Engineers; National Fire Protection Association.
Young Architects, Fulbright Scholarship, Graham Foundation BSME, Columbia.
grant. Published: New York Times, Wallpaper, Metropolis. Brian McGrath principal, Urban-Interface, LLC, a consult-
MArch, Columbia. ing practice with expertise in architecture, ecology, and media.
Ed Keller designer, writer, multimedia artist; co-founder, a/ Projects focus on the use of digital technologies to provide
Um Studio; partner, Atelier Chronotope. Projects range from urban design models that engage local participants in flexible
residential projects to competitions, new media installations, approaches to urban densification and revitalization. Co-author:
and screenplays. Awards: National Award, Celebration of Cities, Cinemetrics: Architectural Drawing Today. Author: Transparent Cities,
first prize for A House for Andrei Tarkovski. Published: ANY, AD, Conflict in Rome and New York. BArch, Syracuse; MArch, Princeton;
Architecture, Wired, Metropolis, Assemblage, Progressive Architecture. coursework, Institute for Architecture and Urban Studies.
Lectures: Harvard, Pratt, Princeton, Columbia University GSAP. Luc Nadal architect and scholar. Awards: Buell Writing Prize,
BA, Simon’s Rock; MArch, Columbia. Barclay Bibbs Jones nomination, Lavoisier and Monbusho scholar-
James Koster principal, James Koster Architects. Awards: ships. Published: Les lumières de la ville, L’architecture d’aujourd’hui,
Chase Competition Development Corporation Award, NY State Arch + Zeitschrift. Diploma, Architecte DPLG, La Villette School of
Preservation League Award, Kelly Grant Illuminating Engineers Architecture, France; MPhil, PhD, Columbia.
Society. BA, University of Pennsylvania; MArch, Princeton. Greg Otto structural engineer; senior engineer, Buro Happold
David J. Lewis partner, Lewis.Tsurumaki.Lewis. Projects Consulting Engineers. Projects: Los Angeles Natural History
focus on the inventive possibilities of architecture through an Museum (Steven Holl Architects); Genzyme Headquarters,
examination of the conventional and overlooked. Published: Cambridge (Behnisch, Behnisch Partners); Trettin Residence,
Architecture, Architectural Record, Architectural Review, Frame, I.D., Aspen (SHoP–Sharples Holden Pasquarelli). Kansas State
Interiors, Metropolis, New York Times. Awards: U.S. representation University, Cooper Union, and MIT.
at Venice Architecture Biennale, Architectural League of New
York Emerging Voices, Architectural Record vanguard. Lectures
and exhibitions: SF MoMA, Van Alen Institute, UVA, Sci-Arc,
University of California. BA, Carleton College; MA, Cornell;
MArch, Princeton.
ARCHITECTURE 37
Mitchell B. Owen partner, Consolidated Design Studios Chris Sharples principal, SHoP (Sharples Holden
Ltd., specializing in high-end residential and retail design. Pasquarelli), a practice encompassing architecture, fine arts,
Research focus: intersection of politics and design in World structural engineering, finance, and business management.
War II-era California Modern architecture; the crossing of Awards: Wired Rave Award; National Design Award final-
political issues with architectural design and urban history. ist, Cooper-Hewitt, National Design Museum; Architectural
Awards: DDI Magazine’s top 50 retail firms. BS, Georgia Institute League of New York Emerging Voices; Progressive Architecture
of Technology; MArch, MA Architectural History, Theory, and Citation; MoMA/P.S. 1 Summer Installation. Published: Versioning,
Criticism, Princeton. Architecture, Architectural Record, New York Times, Oculus, Interior
David Piscuskas partner, 1100 Architect. Awards: New York Design. BFA, Dickenson College; MArch, Columbia.
City and NYS chapters of the AIA design awards for renovation William Sharples principal, SHoP (Sharples Holden
of the Little Red School House and Elizabeth Irwin High School; Pasquarelli; see above). BAE, Pennsylvania State University;
MoMA Design stores; Irish Hunger Memorial in Battery Park City. MArch, Columbia.
BA, Brown, RISD; MArch, University of California, Los Angeles. Henry Smith-Miller partner, Smith-Miller+Hawkinson
Derek Porter director, MFA Lighting Design; principal, Architects. Awards: Progressive Architecture Design Award for
Derek Porter Studio. Awards: Architectural Lighting magazine, Strategic Open Space, AIA NY Chapter Design Award, National
International Association of Lighting Designers, Illuminating Academy of Design award for the NY Public Library Project,
Engineering Society of North America. Affiliations: member Fulbright Scholar. Published: ANY, Architecture, Architectural
of the American Institute of Architects, IALD, IESNA, and Light Record, Casabella, Global Architecture, Dwell, I.D., Interiors, Interior
Fair International. BFA, Environmental Design, Kansas City Design, Metropolis, New York Times. Lectures and exhibitions:
Art Institute. MoMA, SF MOMA, FRAC, Van Alen Institute, Architectural
Gundula Proksch principal, TAAN (transatlantic archi- League of NY. BA, Princeton; MArch incomplete, Yale; MArch,
tectural network). Research emphasizes the transformation of University of Pennsylvania.
urban landscapes. Awards: DAAD fellow, Studienstiftung fellow. Calvin Tsao partner, Tsao & McKown. Awards: Metropolitan
Published: Werk, Bauen+Wohnen, ETH Zurich, Baunetz. Dipl. Ing. Home’s Design 100, Interior Design Hall of Fame, Fashion Group
Architektin, TU Braunschweig; MArch, Cornell. International Star Honoree, Noyes Visiting Critic Harvard.
Mark Rakatansky principal, Mark Rakatansky Studio. Published: Architecture, I.D., Interior Design, New York Times, Vanity
Awards: Emerging Voices, I.D., National Competition for Street Fair. BA, University of California, Berkeley; MArch, Harvard.
Trees, 100 Annual, PRINT Digital Design, Progressive Architecture. Timothy Ventimiglia architect, museum and exhibit
Published: ANY, A+U, Assemblage, Camerawork, Columbia Document, designer; associate and project director, Ralph Appelbaum
Competitions, Harvard Architecture Review, Journal of Philosophy Associates. Awards: Society for Environmental and Graphic
and Visual Arts. BA, University of California, Santa Cruz; MArch, Design top honor, Industrial Design Excellence Award, silver
University of California, Berkeley. winner; Communication Arts Award. Projects: University of Arizona
Juergen Riehm partner, 1100 Architect. Awards: New York Science Center, Grand Tetons National Park Visitor Center,
City and NYS chapters of the AIA design awards for renovation Anchorage Museum of History and Art. BArch, MArch, Cornell.
of the Little Red School House and Elizabeth Irwin High School; Perry Winston senior architect, Pratt Planning and
MoMA Design stores; Irish Hunger Memorial in Battery Park Architectural Collaborative, working on affordable housing
City. Diploma in Architecture, Fachhochschule Rheinland-Pfalz; and community development; maker of the documentary film
Stadelschule, Academy of Fine Arts, Frankfurt A.M. Bordersville, which aired on PBS; frequent contributor, Design Book
Robert Rogers principal, Rogers/Marvel Architects. Review. BA, Harvard; MArch, Rice.
Projects: Governors Island park and public space, NY Stock
Exchange streetscape, urban plaza for 55 Water Street, Battery
Park streetscapes, Higgins Hall at Pratt Institute, Studio Museum
in Harlem. Awards: Erie Street Plaza International Design
Competition finalist, AIA National Honor Awards, Architectural
League of NY Emerging Voices, Interiors Design Award. Published:
Architectural Record, New York Times, Interior Design, Metropolis. BA,
BArch, Rice University; MDes, Harvard.
38 ARCHITECTURE
ARCHITECTURE 39
DESIGN AND TECHNOLOGY
The Design and Technology program responds to the social and FACILITIES AND RESOURCES
cultural dimensions of technological change. Students learn Beyond computer labs and classrooms
firsthand what to expect in the wired 21st-century world as they lies the greatest resource available to our
students: New York City. In addition to
explore connections between networks, interactions, games, prod-
using city streets and wireless networks
ucts, and stories. This program of study examines the implications as laboratories for experimentation,
of emerging technology for both the practice and the process of students take field trips to Times Square,
design, drawing from the past and looking to the future. Lower Manhattan, and Central Park to
find inspiration and observe the nuances
Students are exposed to a variety of perspectives while they of designed living. They collaborate
with urban arts organizations like
develop their own points of view. They become aware of and
Eyebeam, Creative Time, the Kitchen,
address social and ethical issues that arise from technology’s and the New Museum. Students learn
proliferation throughout society as they work to define their own to see New York City as a dynamic
system that shapes the way they learn,
vision and practice within one or more domains.
play, innovate, and explore.
The curriculum links visual, interactive, and narrative concerns with The facilities at Parsons are state-of-
the-art. The Arnhold Hall Multimedia
the practices of programming and computation. Students explore
Laboratory occupies 40,000 square
the social, economic, political, cultural, environmental, historical, feet on four floors with 600 networked
ergonomic, and psychological impact of design and technology. workstations. More than 30 servers
They conceive and create dynamic systems on a human scale. This support work ranging from traditional
print output to online projects using
broad approach is a hallmark of the program and prepares students webcasting and secure transaction
for research and professional work in many design contexts. technology. Specialty work—audio/
video production, MIDI, recording, and
The program challenges students to master constantly changing physical computing installation—takes
technology, on the principle that people work most creatively place in the Design and Technology Lab.
Portable digital still, video, and audio
when they have a solid understanding of the tools they are using.
production equipment is available.
Students are also encouraged to develop close associations and Digital projectors, surround sound, and
working relationships with one another. The collaborations fostered active whiteboards feed into equipment
racks for media presentations of all kinds.
often last long after graduation.
For complete curriculum, faculty, and course information, visit

newschool.edu/parsons and go to Degree Programs: Design and
Technology, Graduate.
40 DESIGN AND TECHNOLOGY

DESIGN AND TECHNOLOGY 41
ALUMNI ADVANCING THE FIELD:
Design and Technology graduates work in a wide variety of SYMPOSIA
art and design practices. They hold directing, producing, and As part of its efforts to advance the field,
design positions in broadcast design and animation at MTV, the program has organized a number
of important symposia. “DeathMatch
Nickelodeon, Curious Pictures, and R/GA. A recent graduate in
in the Stacks” marked the 2005 launch
time-based media was the technical director on Shrek 2 for of The Game Design Reader, written
PDI/Dreamworks. In game design, alumni hold lead designer by Katie Salen and faculty member
positions at Electronic Arts and gameLab; others have started Eric Zimmerman. This event brought
together a number of game industry
indie game development firms, for example Large Animal Games. luminaries: designers Warren Robinett
Design and Technology trained interaction designers can be (Atari), Greg Costikyan (Manifesto
found at AOL, Frog Design, Pentagram, and Apple. In the arts, our Games), and Ken Birdwell (Valve);
play theorists Brian Sutton-Smith,
alumni have won awards at Ars Electronica and worked with the
Linda Hughes, and Gary Alan Fine;
sponsorship of arts organizations like Eyebeam and Creative Time. and new media producers Ze Frank
Parsons graduates include professors at the University of Wisconsin, and Counts Media. Previous symposia
include “Excavating the Archive: New
the University of Massachusetts, and Texas A&M University.
Technologies of Memory” and “Re:Play:
Game Design + Game Culture.”
THE STUDENT EXPERIENCE
The process of responding to the implications of emerging Areas of Focus
technology through design is the essence of the student
Through their studio work, students
experience in Design and Technology. Design serves more than address cultural sensibilities in the
a visual function: It is a means for producing culture, developing context of technologically mediated
experiences. A set of core topics frame
communities, organizing knowledge, creating entrepreneurial
these inquiries.
structures, and awakening social consciousness. Situated
Interactivity
amid New York City’s vibrant art and design scene, the program Students explore interactivity within
encourages students to take their work to the streets and engage digital and analog settings, including
individuals and communities. From bicycles that create Wi-Fi games, websites, smart products, and
wearable interfaces.
hotspots to walking tours mediated through PDAs and cell phones
Narrative
to animations projected onto buildings, our students’ work is Students explore narrative possibilities
a living, breathing part of our city. Whether in the commercial within time-based media, including
realm, academia, or the fine arts, Parsons graduates offer not animation, broadcast design, documen-
tary film and video.
just in-depth knowledge of technology but the creativity and
Computation
intellectual awareness to shape the future.
Students explore the expressive
possibilities of code, including
Students enter the graduate program from many professional and
animation, performance, narrative,
educational backgrounds, including interactive design, architec- and online experiences.
ture, fine arts, film and media studies, graphic design, new media
art, computer science, and the social sciences. Their geographi-
cal roots are equally diverse: current students come from Japan,
Malaysia, Brazil, Switzerland, Canada, and Iceland, as well as the
United States.
CURRICULUM
The MFA is a two-year, full-time, 64-credit program. Students can
take a general curriculum or specialize. While the curriculum is
studio based, critical thinking and the study of design process and
methods are central to the program. The combination of creating,
thinking, and writing is central to the Design and Technology
experience. The program’s open, flexible structure, gives students

a great deal of freedom in choosing areas of research to pursue. ELECTIVES
Individual and collaborative studio projects are designed to Academic electives focus on the
demonstrate aesthetic and intellectual refinement as well as theories, methodologies, and
development processes required by
technical mastery. Students produce a master’s thesis in the
contemporary design and technol-
second year of study, which culminates in an exhibition at the ogy projects. Students can choose
Parsons galleries. from a set of Design and Technology
electives and many other courses
Parsons’ ongoing relationships with corporate, governmental, at Parsons and other divisions of
educational, and nonprofit organizations ensure a technically The New School. The following is a
sample of departmental electives.
current and socially relevant working environment. Industry and
Multi-Channel Interaction Design
institutional partners include AIGA, Apple, Atari, Cooper-Hewitt/
is about developing prototypes for
Smithsonian, Creative Time, Curious Pictures, Estée Lauder, integrated interactive experiences.
Eyebeam, Fossil, gameLab, Human Rights Watch, Microsoft, Emphasis is on strategic thinking,
user research, concept design to build
MTV, NASA, the New Museum, the Open Society Institute, R/GA,
and test a piece that works simultane-
Samsung, Siemens, SensAble Technologies, UNESCO, UNICEF, ously in three media environments.
Vespa, and the Whitney Museum of Art. Vision and Sound with Max/MSP/
Jitter introduces MIDI communica-
Students can take advantage of the university setting—enlisting tion, interface design, installation
directors or actors from The New School for Drama to work on a and performance strategies, digital
digital film, for example, or collaborating with creative writing sound synthesis, and structure and
programming of Quicktime and
students. They can take elective courses in usability, international OpenGL.
affairs, sustainability and urban ecology, and psychology, to Social Fashioning and Emerging
name a few of the possibilities. Networks examines network com-
munications infrastructures and
MAJOR STUDIO radical reconceptualizations of public
space focusing on clothing, acces-
Central to the program is the Major Studio, devoted to the conceptual
sories, and handheld objects as con-
and creative process in design, in which each student develops his duits through which identity, agency,
or her own body of work. and social relation are expressed.
Visual Storytelling explores not
Major Studio: Interface In this studio, students are introduced to the only techniques (storyboards, ani-
process of creating work within a design and technology context. matics and Board-O-Matics, comics)
It should be seen as the interface for MFA Design and Technology’s but also the meaning and structure
underlying time-based media.
core topics—Narrative, Computation, and Interactivity—as well as Students learn how to articulate story
for the areas on which the program focuses—design, technology, ideas clearly in order to communicate
and society. effectively through any medium.
Major Studio: Interaction Students design “screen-based”

experiences or new ways of enabling people to interact with the
physical world.
Major Studio: Narrative This course focuses on new narrative

possibilities within time-based media, including animation,
cinematic space, documentary film and video, broadcast
graphics, movie titles, information broadcast, and Internet video.
Major Studio: Computation Students explore the use of digital

code-driven systems to create new forms of design.

COLLABORATION STUDIO MORE ELECTIVES
Collaboration Studios are courses that team students with industry Physical Computing connects the
partners to undertake real-world projects. Many are cross- physical and the digital, investigating
physicality and interface with respect
disciplinary and dedicated to applied design research areas at
to the computer and exploring related
The New School. Past partners include Curious Pictures, the Open analog and digital technology.
Society Studio, Scholastic, Human Rights Watch, Franklin Furnace, Geek Graffiti Graffiti, street-art,
the New Museum, UNICEF, the Port Authority of New York and New guerrilla marketing, and other technol-
Jersey, and the American Symphony Orchestra League. Media ogy-based urban projects are explored
in collaboration with the Wooster
range from mobile wireless applications, games, digital film, anima- Collective, an arts group in New York.
tion, websites, CD DVDs and kiosks to experimental installations. Narrative and Dynamic Systems looks
Described below are examples of recent Collaboration Studios. closely at the mechanics of storytelling
within interactive fictions, exploring
Scholastic Learning Lab is sponsored by the Lab for Informal connections between technology and
Learning, a research and ideation group at Scholastic. Students narrative experience.
create a design brief and conceptual prototype for one of two Game Design is an introduction to
games as formal, social, and cultural
concepts aimed at children between 6 and 12 years old: the Energy
systems, emphasizing rapid prototyping
Game and Monster Quest. The Energy Game is a multiplayer, Web- and play-testing of game concepts
delivered, turn-based strategy game that exposes elementary and introducing game analysis and
and middle school students to energy policy politics and science. production.
Monster Quest is a user-generated content website for children

focused on avatar creation and social networks.
Internet Famous is dedicated to spreading work on the Internet,

getting hits, and attracting web media attention. Custom tracking
software, currently in development at the Eyebeam Openlab, is
released in beta form to students. Sites like Digg, del.icio.us, Alexa,
YouTube, and Technorati are mined for data to deliver a single
bulk index of Internet fame. Students study successful contagious
media projects to increase their chances of making work spread
contagiously. Grades are awarded algorithmically on the basis of
Web popularity.
Jazz and Animation gives students the opportunity to work with

illustrators, communication designers, and musicians to create both
live and recorded animation to accompany the music of contribut-
ing jazz composers and performers. Students work with a variety of
analog and digital technologies, ranging from Max MSP and Jitter
to drawn cel animation and lighting and staging effects.
Supernormal Futures Students work with graduate architecture

students to envision future scenarios that challenge our sense of
what “normal” will be. Extrapolating from existing technologies,
students model and prototype critical responses to the present by
designing scenarios of and objects from the future.

Mike Edwards
Student
design and technology
“I saw the master’s thesis show at Parsons, and I was so impressed with
the projects. They were really, really cool. I had to go there; I knew it
was perfect for me,” says Mike Edwards. A year later, he enrolled in the
Design and Technology program.
Mike’s own thesis is as impressive as the ones that inspired him to
come to Parsons. After receiving a grant from the Open Society Institute,
Mike traveled to Malawi and worked as a technologist with a small
health-care advocacy organization. For his thesis project, developed in
collaboration with the Malawian organization Baobab Health Partnership,
Mike created tools that digitally measure children’s arms to determine
whether they are malnourished and store the records electronically.
Since returning from Malawi, Mike has been focusing on education. At
PETLab (Prototyping, Evaluating, Teaching and Learning Laboratory), the
first public-interest game design and research laboratory for interactive
media, he worked with a team to develop a game that teaches players about
sustainable architecture and construction. The game has been presented
to industry professionals.
For Mike, one of the best features of Parsons is “the kind of people
who come to school here. They have a diverse range of life experiences,
talents, and interests, but they are all really smart people. It creates a
really productive mix of thoughts and designs, which is good for
‘strange’ kinds of creativity, ranging from very technical to very artistic.”
Mike has accepted an offer to teach at Parsons.
CASE STUDY: PETLAB
Design and Technology students engage the community with
their explorations. Symposia, game jams, simulations, and mobile
technology events hosted by the program encourage experimen-
tal learning, provide a place to prototype methods, and connect
students with scholars and designers in digital media, education,
and social research.
The program recently announced the launch of PETLab, the first

public-interest game design and research laboratory for interac-
tive media. The sustainability game Open House (see below) was
developed through PETLab and presented at the Philip Johnson
Glass House. In collaboration with the nonprofit organization
Games for Change, PETLab will work with Microsoft’s Xbox devel-
opment platform and MTV’s Think.MTV.com youth-focused activist
community to develop learning tools and games that explore social
issues. PETLab was made possible by a $450,000 grant from the
John D. and Catherine T. MacArthur Foundation.

left top Leanne Wagner and Matt left bottom Travis Chan, Elizabeth Foley, above Arava Sheleff, Heroes, tactical media
Bethencourt, Nohaüs FoodBox, open drop Paul Imperio, Kimba Kerner, Sangmin docu-comic. MFA thesis Project
boxes enabling distribution of leftover Lee, Rami Son, Scrubby Invasion, 2D, 3D
food to homeless people; locations Animation and Motion Graphics. Advanced
accessible via cell phones and an online Broadcast Design Studio project
database at foodbox-ny.org. Interface
Major Studio Project

left Myeong Jae Lee, Chang Jeong, Nohaüs right Catherine Garnier, Table for Two,
Design-Cardboard Chair, DIY found cardboard interactive narrative installation.
and gaffer tape chair design for the homeless. MFA thesis project
Interface Major Studio Project

Design and Technology Faculty
Sven Travis dean; new media artist; experimental software Melanie Crean artist. Former director of production at
developer. Founder of several commercial enterprises includ- Eyebeam, a cooperative studio that supports the creation of
ing The Fred Group (randomly generated textile design) and socially based media. Previously, she worked at the MTV Digital
Crazy Baldhead (randomly generated bald people). Recent Television Lab and produced documentaries on the trafficking
work: Groupmeter (with Cornell University), YACHT CLUB of women and the spread of HIV/AIDS along trucking routes in
(with Tsinghua University in Beijing), and Embedded Control. South Asia. Expertise: time-based media, public art, instal-
Expertise: network design, physical computing, photography, lation, documentary. Interests: conceptual art, experimental
interactive media. Interests: mobile media, data collection, sound and video, film, animation, media theory, memory,
interactive media, web research, machinima, Green Bay Packers. perception, vision. BA in semiotics and film production, Brown
Anezka Sebek director of the graduate program; writer, University; MFA in computer art, School of Visual Arts.
director, and visual effects and computer animation producer Anthony Deen design director at TPG Architecture.
for projects combining live action with digital effects. Projects: Previously, Deen was senior associate at Rockwell Group, VP
television, advertising, music videos, short films, docu- of Design for Miller Zell, and VP of Retail Design and Brand
mentaries, and feature films for HBO, Curious Pictures, and Development for Virgin Megastores NA, where he designed the
R/Greenberg Associates. Expertise: animation, character design, next-generation store and created Virgin’s award-winning in-
narrative, documentary. Interests: feminism, queer/environ- store interactive system.
mental activism, screenwriting, time-based media, digital Andrea Dezso artist, award-winning graphic designer and
puppetry, motion capture, live action, sociology, urban studies, typographer, illustrator, and writer with extensive experience
media theory, visual effects. PhD candidate in Sociology and working with nonprofits, cultural institutions, and businesses.
Media Studies, The New School for Social Research. Expertise: public art, illustration, artists’ books, typography.
Andy Bichlbaum (Jacques Servin). Founder of the Yes Men, Interests: outsider and visionary art, folklore, feminism,
a group of professional troublemakers whose ultimate goal is to subversive craft, personal narrative, Eastern Europe, space-race
help design a better world—they sneak into corporate confer- propaganda, post-Communist nostalgia, shadows, stop-action
ences to report unflattering stories. He is currently working on animation, puppetry, dioramas, alternative comix, visual expla-
a feature film about the Yes Men’s latest adventures. Expertise: nations, science.
filmmaking, narrative, media activism, culture-jamming. Nicholas Fortugno was inducted into role-playing life
Ted Byfield co-moderator of “nettime” mailing list; co- at the age of five and has been an avid consumer and producer
editor of README! (Autonomedia, 1999) and NKPVI (MGLC, of role-playing, live-action, and game culture ever since. He
2001). Clients: BBC, The Kitchen, KPN, Open Society Institute, recently co-founded the gaming company Rebel Monkey.
Cambridge University Press, Ford Foundation, Random House, Yury Gitman designer, inventor, and artist. Exhibited at
Scribners/Macmillan. Published: Cook Report, First Monday, the Biennale of Electronic Arts in Perth, the Isle de France in
Frieze, Le Monde Diplomatique, Movement Research, Mute, and Paris, Ars Electronics in Austria, and Eyebeam in New York.
Stanford Humanities Review. Expertise: cybernetics, net.art, By employing a network of “wireless bicycle hotspots,” he was
cultural history, tactical media. Interests: anomalies, archives, one of the first to use the Internet from inside the NY subway.
behavior, choreography, cryptography, DIY, ecology, economy, Projects with NYCWireless, the LMCC, and the Downtown
hacking, intellectual property, P2P, performance, policy, Alliance to promote open Internet policy and New Media Art
politics, privacy, propaganda, protocols, punk, radio, robots, practice. Awards: 2003 Ars Electronica Golden Nica for Net
satellites, systems, typography. Vision, Europe’s highest honor for electronic arts.
David Carroll multimedia director at Second Thought Joshua Goldberg artist and programmer with an interest
(www.secondthought.com), an interactive boutique supplying in multimedia sampling and live video performance. Goldberg’s
creativity and interactive products to media clients including work departs from the tradition of coherent narrative, using
CNN, PBS, ESPN, AETN, AOL, and Nintendo. Expertise: interac- improvisation to create dynamic, abstract collages of the flot-
tive and game design, mobile media, object-oriented program- sam and jetsam of the media sphere.
ming. Interests: informatics, prototyping, social media,
Jessica Irish inter-media artist whose work queries the
alternate reality gaming, locative media, responsive interfaces,
relationships between technology, the built environment, and
computer vision, multi-touch, democracy, data visualization,
ideology. Her work has been exhibited exclusively internation-
media law, open source, economics, politics, electronic music.
ally. and featured in Art Forum, Metropolis, RES, and Artweek.
She was among the first digital artists to receive support from
Creative Capital Foundation and the California Arts Council.

Christopher Kirwan principal of Urban Technologies. Katie Salen game and interactive designer, animator,
Expertise: information architecture and data visualization. co-author of Rules of Play: Game Design Fundamentals and The
BArch, BFA, Rhode Island School of Design; coursework, MIT Game Design Reader. Previously worked as a consultant for
Center for Advanced Visual Studies. Microsoft, Mememe Productions, gameLab; curator of game-
Colleen Macklin digital artist, interaction designer, related shows with Walker Art Center, Lincoln Center, and
director of PETLab. Previously worked in New York and Cinematexas. Expertise: game design, interactive design, new
Southeast Asia to generate multisensory environments rang- media art. Interests: learning, social networks, mods, peda-
ing from DJ parties to minimalist visual installations. Clients: gogy, culture, machinima, design writing, youth culture, play.
Citibank, Credit Suisse First Boston, France Telecom, Moët, Sabine Seymour founder of Moondial Inc., an interna-
the New Museum, and Thompson/PDR. Expertise: games/ tional network of designers, architects, and researchers.
interaction, mobile media, ethnography, international affairs. Moondial’s research focuses on creating a pervasive user
Interests: activism, publics, prototyping, happenings, disrup- experience based on the convergence of fashion, wearable
tive technologies, participatory design, programming, open and wireless technologies, product design, and architecture,
source, modding and hacking, culture jamming, conceptual particularly in extreme sports and fashion.
art, electronic music, Southeast Asia. Marko Tandefelt interface and concept designer with a
Katherine Moriwaki artist and researcher investigating music technology and 3D/VR background. Marko visualized
clothing and accessories as a conduit for creating network the new R142 subway cars in 3D for New York City’s MTA and
relationships in public space. Her work has appeared in IEEE Antennadesign and has been curator and technology advisor
Spectrum and festivals and conferences internationally. of F2F: New Media Art from Finland. Expertise: music, audio-
She received the 2004 Araneum Prize from the Spanish visual interactive instrument design, physical computing art
Ministry for Science and Technology and Fundación ARCO. for public spaces.
Master’s degree from ITP at NYU; doctoral candidate at Michael Waldron environmental graphic and corporate
Trinity College, Dublin. identity designer; currently creative director of Nailgun. He
Stephanie Owens artist, freelance designer, and co- joined News-Channel6, a CBS affiliate, as a graphic designer in
founder and CCO of Oddcast. Previously Owens was the lead 1995 and became the youngest art director in the history of the
designer and associate creative director for Reset, where news company.
she completed works for HBO, New Line Cinema, Fine Line Eric Zimmerman started his career roping friends and
Cinema, October Films, Time Warner, Bad Boy Records, family into play-testing his game experiments. He has spent
Interscope Records, Nine Inch Nails, Kenneth Cole Reaction, the last ten years in the game industry. He is the CEO and co-
Buffalo Jeans, and Witness. founder of gameLab and co-author of Rules of Play: Game Design
Scott Paterson architect and Internet artist currently in Fundamentals (MIT Press). Before founding gameLab with
practice as a freelance information architect and interaction Peter Lee, Eric collaborated with Word.com on the under-
designer. An active member of the Internet art community, ground online hit SiSSYFiGHT 2000 (www.sissyfight.com).
including Rhizome.org and Mindspace.net, he has had work
exhibited in Mexico City, Florence, New York, and the Banff
Centre for the Arts.
Michie Pagulayan graphic designer. Expertise: interac-
tion design, project management, advertising. MFA, Parsons;
BFA, University of the Philippines.
Chris Romero artist, architect, and design partner at
Oscillation Digital Design Studio, an interdisciplinary design
and technology company with offices in New York and San
Francisco. With longtime partners Brian Kralyevich and Brian
O’Driscoll, he has worked toward a new visualization of the
interfaces between humans and computers.

FINE ARTS
The Fine Arts MFA program trains students to develop their work AWARDS AND SCHOLARSHIPS
from concept to realization and to launch careers as professional In 2008, the prestigious Joan Mitchell
artists. Students explore the evolving role of the artist in today’s art Foundation awarded Parsons graduate
Cecile Chong a $15,000 grant. The foun-
world as it is transformed by the influence of popular culture, an
dation awards 15 grants annually to
engagement with social and environmental issues, and the devel- MFA painters and sculptors from across
opment and use of new technologies. the country who produce work of excep-
tional artistic quality. Candidates are
In this two-year program, students develop the formal, intellectual, nominated by members of the academic
and conceptual foundations of their work. Frequent individual art community.
studio visits with faculty members in the New York art community The Fine Arts program also receives
grants and awards, which are used
help students refine their practice and have played an important
for scholarships. The Jacques and
role in preparing Parsons alumni for major group shows, such Natasha Gelman Trust recently
as the Whitney Biennial, solo shows in galleries worldwide, and awarded Fine Arts a $90,000 grant to
be used for an MFA scholarship,
teaching positions.
including all tuition expenses for two
years and a living stipend.
The Fine Arts program is aesthetically and conceptually open
to all disciplines. Here the traditional wall between painting and
sculpture has been broken down. While students committed to
traditional studio practices in painting and sculpture develop their
work in an atmosphere of rigorous formal training and intellectual
engagement, the doors are open for artists interested in time-based
media, performance, installation, and public art. Our interdisciplinary
curriculum, faculty, and facilities provide opportunities for such
exploration while exposing students to the history, theories, and
philosophies that have shaped the contemporary art world.
Parsons is located within walking distance of Chelsea, Soho, and

midtown galleries and museums, offering students the benefit
of constant and direct contact with New York City’s unparalleled
artistic community.
For complete curriculum, faculty, and course information,

visit newschool.edu/parsons and go to Degree Programs:
Fine Arts, Graduate.
52 FINE ARTS
FINE ARTS 53
Case Study: PULSE and Kitchen Exhibitions
Throughout the year, Fine Arts students exhibit their work in high-
profile venues. In March, an installation of work was presented at
the PULSE Contemporary Art Fair at Pier 40 (see below) in New York.
Working with curator Jeffrey Walkowiak, the students created a
space for reading, discussion, and contemplation. The installation
attracted national press attention and provided a unique opportu-
nity to show the international art world a cross-section of the work
produced by graduate students at Parsons. Graduating seniors
exhibited their work at the Kitchen, a nonprofit experimental art
and performance space in Chelsea. Through the innovative course
Theory, Practice, and Career, MFA students played an active role in
organizing that exhibition: securing the exhibition space, develop-
ing the catalog, and helping conduct marketing and promotion.
54 FINE ARTS
CURRICULUM The Fine Arts Program’s weekly lecture
The master of fine arts curriculum requires 64 credits of full-time series features prominent artists and
critics who discuss their current prac-
study: 52 credits of studio (Graduate Fine Arts and Graduate Semi- tices in relationship to larger trends in
nar), and 12 credits of critical studies. Students work independently contemporary culture. Students have the
in their own studios and have weekly one-on-one conferences opportunity to learn about a wide range
of artistic practices through post-lecture
with the faculty. Supplemental instruction in speaking and writ-
dialogue with the visitors.
ing is designed to improve students’ ability to discuss their work.
Lectures, workshops, and studio visits with visiting artists, curators, Visiting Artists LECTURE
and gallery directors enable students to reach beyond the school SERIES, SPRING 2009
environs to engage the New York City art world. Sanford Biggers
Eduardo Cadava
Graduate Fine Arts This studio course offers the experience of work- Alfredo Jaar
ing in a community of faculty and peers who inspire, challenge, Emily Jacir
and support one another. Meeting for six hours a week, the course Silvia Kolbowski
is structured around group and individual meetings with faculty Thomas Y. Levin
members, who set rigorous standards of achievement and help the Wangechi Mutu
students develop cohesive expression and skills. Paul Pfeiffer
Students work with five core faculty members in succession. First- Rebecca Quaytman / Orchard
year students work with all five faculty members; second-year Paul Ramirez-Jonas
students choose two faculty members and work with each one for Shazia Sikander
two five-week periods. Open sign-up periods and group critiques Saya Woolfalk
occur between rotations. Each week within the rotations, one to

one and a half hours of group discussion are held. Students spend
the rest of the time working in studios while faculty members make
one-on-one studio rounds.
Student work is analyzed in cultural and historical context. In indi-

vidual and group critiques, studio visits, and discussions, students
and faculty strive to identify the values and ideas expressed and
implied by the artwork. Students visit galleries and artists’ studios
to compare their own work to a challenging and fluid contemporary
art market. Visiting faculty members meet regularly with students to
give continuity to critical analysis. Students design their own work
processes as a means of establishing the discipline that allows for
and sustains lifelong work and growth as an artist.
Theory, Practice, and Career All second-year graduate students

must take this course, designed to help them enter the art world
as self-managing artists. This course, developed in cooperation
with the New York Foundation for the Arts and funded by the Emily
Tremaine Foundation, helps students developing skills that will
enable them to make confident and informed career choices while
continuing to make art.
Graduate Seminar The first-year Graduate Seminar exposes

students to significant discourses in 20th- and 21st-century art,
including modernism, postmodernism, feminism, colonialism, and
FINE ARTS 55
racial representation; commodity culture, including ideas about RECENT AWARDS AND
collecting; and technology and the digital revolution. All these PRESENTATIONS BY MFA
FINE ARTS STUDENTS
topics are explored in writing assignments and class discussion as
well as readings, video and film viewing, and art exhibitions. The Nina Chanel Abney
solo exhibition, Kravets/Wehby Gallery
seminar work is interspersed with studio visits. In addition to short
Michael Caines
writing assignments that accompany readings, each student is
residencies, Jentel Artist Residency
responsible for a major research paper. Program, Bemis Center for
Contemporary Arts
The second-year Graduate Seminar is thesis driven. Weekly and
Ben Finer
bimonthly writing assignments break down the subjects required for
film screening, Envoy Gallery
the thesis into smaller elements. Drawing assignments, individual
Kyoung Eun Kang
studio visits, and slide lectures on student work augment written residency , Skowhegan Institute
assignments and promote class discussion.
Jess Ramsay and Seyhan Musaoglu
At the end of the second year, students present a body of work performance, Dutch Kills Gallery
completed in the program and a written thesis for the Final Gabe Shuldiner
solo exhibition, 355 Gallery
Master’s Review. Selected artwork is exhibited in the annual MFA
Thesis Exhibition during the spring semester. John Wanzel
residency, Mildred’s Lane
RECENT AWARDS AND

PRESENTATIONS BY
FINE ARTS FACULTY
Simone Douglas
solo exhibition, Artereal Gallery
Leslie Hewitt
fellowship, Radcliffe Institute
Lenore Malen
recipient, Guggenheim Fellowship and
solo exhibition, Zilkha Gallery
Donald Porcaro
solo exhibition, Kouros Gallery
Mira Schor
solo exhibition, Momenta Art Gallery
Ward Shelley
exhibition, Pierogi Gallery
Jean Shin
solo exhibition, Smithsonian
American Art Museum
Brian Tolle
exhibition, American Academy of
Arts and Letters
56 FINE ARTS
Anthony Aziz
Director
mfa fine arts
As a graduate student in the early 1990s—a time when the Internet and
other technologies were becoming available in households nationwide—
Anthony Aziz decided that he “had a responsibility as an artist to make
sense of what has become known as a huge paradigm shift.” Since then,
Aziz has used photography, video, and sculpture to “address the impact
of technology on our lives, our bodies, and our imaginations.” His work
has been exhibited at prestigious venues around the world.
As director of the MFA Fine Arts program, Aziz urges his students to
question what art means today. “People have acquired a greater apprecia-
tion of and interest in visual culture, which gives it greater value. Being
in a community such as the one at Parsons allows students to make sense
of the essential characteristics of art. It allows them to become leaders
and to push the definition of art beyond its current borders.” Aziz credits
the MFA Fine Arts faculty with the ability to both nurture and challenge
students, allowing them to flourish as artists, often in unexpected ways.
Michael Caines, untitled, ink, acrylic, pastel
on paper, measurements unknown
FINE ARTS 59
top left Misael Nuñez, American Flag, bottom left Cynthia Hsieh, untitled, top right Cecile Chong, Between us,
screen printing on found materials pencil on paper, 17 x 14 inches encaustic on wood panel 23 x 28 inches
38 x 78 x 19.5 inches
bottom right Nicole Carlson, untitled,
oil on canvas 43 x 30 inches
60 FINE ARTS
left Brandon Nastanski, untitled, mixed right Cecile Chong, Dance For Me, encaustic on
media installation wood 16 x 33 inches
FINE ARTS 61
Fine Arts Faculty
COCO FUSCO chair. Performance and multi-media art- Glenn Goldberg painter. His process involves adding
ist, writer, and curator whose work explores paradigms meticulous, tiny, luminous brushstrokes, which are mosaic-like in
in culture, race, gender, social behaviors, war, and poli- their ability to convey both microscopic beauty and an overarch-
tics. Solo exhibitions: Whitney Biennial; Sydney Biennale; ing, harmonious whole, to depict subjects like flowers, birds, and
Johannesburg Biennial; London’s Institute of Contemporary other wildlife. Solo exhibitions: Willard Gallery, NY; Greenberg
Art; Brooklyn Academy of Music; Smithsonian Institution; Gallery, St. Louis; Barbara Krakow Gallery, Boston; Galerie
London International Theatre Festival; Transmediale, Berlin; Albrecht, Munich. Group exhibitions: Castelli, Harvard, Jeffrey
VideoBrasil, São Paulo. Author: A Field Guide for Female Hoffeld Gallery, NY. Collections: Museum of Contemporary Art,
Interrogators, English is Broken Here: Notes on Cultural Fusion in
LA; National Gallery of Art; Brooklyn Museum of Art; National
the Americas, and The Bodies That Were Not Ours and Other
Academy of Arts and Letters; Metropolitan Museum of Art. Grants
Writings. MA, Stanford University; PhD, Middlesex University.
and awards: NEA; Edward Albee, Guggenheim, and Margaret Hall
Anthony Aziz director of the MFA program. Artist and Silva Foundations; Heilman Artist. MFA, Queens College.
photographer specializing in digital imaging, sculpture, video,
Nina Katchadourian artist working with video, pho-
and architectural installations; collaborator in the team of Aziz +
tography, sound, installation, and language; viewing program
Cucher. Exhibitions: New Museum of Contemporary Art; Cooper-
curator at the Drawing Center. Solo exhibitions: Sara Meltzer
Hewitt National Design Museum; Venice Biennale; ICP; SF MoMA;
Gallery, NY; Tang Museum, Saratoga Springs; SculptureCenter,
Reina Sofia Center for Contemporary Art, Madrid; National Gallery
NY; Turku Museum of Art, Finland; Catharine Clark Gallery,
of Berlin; National Gallery of Australia. Grants and awards: Pollock
San Francisco; Public Art Fund, NY. Upcoming: CERCA Series,
Krasner Award, NEA, NYFA. Published: New York Times, Village
San Diego Museum of Contemporary Art. Represented by Sara
Voice, Art in America, ArtForum, ArtNews, FlashArt, Frieze, Parkett.
Meltzer Gallery NY and Catharine Clark Gallery, BA, Brown; MFA,
MFA, San Francisco Art Institute.
University of California at San Diego.
Jackie Brookner environmental artist and writer who col-
Lenore Malen writer and multidisciplinary artist. She works
laborates with ecologists and earth scientists on water remedia-
with photography, video and audio installation, live performance,
tion and public art projects. Current projects: Dresden, Germany;
and books, creating imaginative scenarios involving historical
West Palm Beach; San Jose, CA, Cincinnati and Toledo, OH. Solo
fiction. Solo exhibitions: Apexart; Participant, Inc. Location One;
exhibitions: Native Tongues; Of Earth and Cotton. Exhibitions:
Slought Foundation; Skidmore College; Cue Foundation; Art in
Miró Foundation, Barcelona; Pamela Auchincloss Gallery, NY.
General. Group exhibitions: France.fiction, Paris; Akademie der
Grants and awards: NYFA, NEA, Nancy Gray Foundation for Art in
Kunste, Berlin; Zentrum for Medienkunst, Karlsruhe. Member:
the Environment, Trust for Mutual Understanding. Guest editor of
Art Critics Association. Formerly executive editor, Art Journal.
Art Journal issue “Art and Ecology.” MA and ABD, Harvard.
Publications: The New Society for Universal Harmony, Opportunity
Tom Butter artist interested in the profound incompatibilities Knocks, Magnetic Map. Featured: New York Times, Art on Paper, Art in
of the everyday. Butter’s sculptural practice uses seemingly America. MA, University of Pennsylvania.
disparate materials as visual metaphors for this otherwise elusive
Donald Porcaro sculptor who uses industrial media—
fact of life; monotypes and paintings articulate this conceptual
mostly concrete, metal, and paint—to create whimsical Dadaist
foundation through the formal concerns of two-dimensions.
forms. He culls ideas from disparate worlds, ranging from Bosch
Published: Artforum, Art in America, ArtNews, New York Times.
to Guston to Japanese Anime, playing with notions of hybrid
Exhibitions: Jaffe-Fried & Strauss Galleries; Curt Marcus Gallery,
identity through the formal investigation of colorful three
NY; Nina Freudenheim Gallery, Buffalo. Teaching: Harvard,
dimensions. Solo exhibitions: Kouros Gallery, NY; Lowe Gallery,
RISD, Yale, Tyler School of Art. Awards: NYFA grant. Collections:
LA; Allyn Gallup Gallery, Sarasota. Large-scale outdoor installa-
Albright Knox Gallery; Walker Art Center; Metropolitan Museum
tions: Socrates Sculpture Park, Ward’s Island, and South Beach
of Art. MFA, Washington University.
Sculpture Garden, NY. Participated in Whitney Biennial “Peace
Tower.” Grants and awards: NYFA; Distinguished Teaching Award
from The New School. MFA, Columbia University.
62 FINE ARTS
Mira Schor painter and writer. Areas of interest include the
gendered production of art history, the analysis and praxis of
painting in postmodern culture, political and conceptual concerns
with the materiality of expression, and the intersection of writ-
ten language with the body politic. Co-editor: M/E/A/N/I/N/G: An
Anthology of Artists’ Writings, Theory, and Criticism. Author: Wet: On
Painting, Feminism, and Art Culture. Solo exhibitions: Edward Thorp
Gallery, Armand Hammer Museum, Horodner Romley Gallery.
Group exhibitions: Marianne Boesky Gallery, P.S. 1, Santa Monica
Museum, Neuberger Museum, Aldrich Museum. Grants and
awards: NEA, Marie Walsh Sharpe, Guggenheim, Pollock-Krasner,
Rockefeller. MFA, California Institute of the Arts.
JEAN SHIN sculptor and video and installation artist. Projects
navigate the boundary between abstraction and representation,
considering both formal issues and cultural investigations. Solo
exhibitions: MoMA, NY; New Museum of Contemporary Art,
NY; Smithsonian Institution; Museum of Fine Arts, Houston;
Brooklyn Museum; Cincinnati Center for Contemporary Art;
Galerie Eric Dupont, Paris. Grants and awards: New York
Foundation for the Arts Fellowship, Pollock-Krasner Foundation
Grant, Louis Comfort Tiffany Foundation Biennial Art Award.
Published: New York Times, Frieze Art, Flash Art, Tema Celeste, Art
in America, Artnews. BFA, MS, Pratt Institute.
Brian Tolle sculptor and installation artist. Projects
emphasize a formal and iconographic dialogue with history
and context, drawing from the scale and experience of their
surroundings, provoking a re-reading by cross-wiring reality
and fiction. Architecture, site, and technology are recurring
themes. Exhibitions: Whitney Biennial; Liverpool Biennial;
Queens Museum of Art; SMAK Museum, Belgium. Permanent
public works in NY and Seattle. Grants and awards: GSA commis-
sion, Irish American Historical Society, Louis Comfort Tiffany
Foundation. BFA, Parsons; MFA, Yale.
FINE ARTS 63
HISTORY OF DECORATIVE ARTS
AND DESIGN
This prestigious program is offered jointly with the Cooper-Hewitt, tHE partnership with
National Design Museum, and leads to a Master of Arts in the cooper-hewitt
History of Decorative Arts and Design. Graduates go on to careers The unique character of the program
as historians, curators, and scholars in museums, universities, is defined by its physical location in
the Cooper-Hewitt, National Design
historic houses, publishing, auction houses, and galleries. The
Museum, the only museum in the United
curriculum focuses on European and American decorative arts States devoted exclusively to histori-
and design from the Renaissance to the present, with courses on cal and contemporary design. Courses
emphasize object-based teaching, draw-
ceramics, costume, furniture, glass, graphic design, metalwork,
ing on the museum’s collections. The
textiles, and works on paper. The training goes beyond connois- curriculum covers subjects ranging from
seurship to address a wide range of issues, including social, eco- connoisseurship to the social meanings
nomic, and cultural history and critical theory. of design to aesthetic theory. Students
can supplement their object-based
Attending graduate school in a professional setting helps students studies with courses in other Parsons
graduate programs.
make the transition from academic training to a career. Students
can work in Cooper-Hewitt’s curatorial departments and gain
teaching experience through assistantships in undergraduate
programs at Parsons.
As the home of some of the world’s most important collections of

design and decorative arts as well as a central marketplace for
these works, New York is an ideal location for study in this field.
Students in the program are encouraged to attend museum exhibi-
tions and presale shows and often have opportunities to meet with
museum curators, auction house specialists, and collectors of the
decorative arts. The program draws its faculty from the Cooper-
Hewitt, National Design Museum and affiliated institutions in New
York City, including leading scholars of art and design history and
curators of some of the most important collections of decorative
arts in the world.

newschool.edu/parsons and go to Degree Programs: History of
Decorative Arts and Design.
64 HISTORY OF DECORATIVE ARTS AND DESIGN

HISTORY OF DECORATIVE ARTS AND DESIGN 65
CURRICULUM To see full course descriptions, visit
The MA in the History of Decorative Arts and Design is awarded upon www.newschool.edu/parsons, choose
History of Decorative Arts from the Areas of
completion of 48 credits and a master’s examination or thesis. The Study section, and then choose Courses.
program is two to three years of full-time study or four years of part-
SELECTED THEORY AND
time study. Required courses are Proseminar, Survey of Decorative
MUSEUM STUDIES COURSES
Arts I and II, and an elective in either museology or art theory.
Decorative Arts Theory offers a
Students declare major and minor areas of concentration for the historiography of art theory, with special
MA examination at the completion of 24 credits or, with a 3.5 mini- attention given to decorative arts.
mum grade point average, may petition to write a master’s thesis. Historic Houses highlights the way
interpretation of decorative arts dis-
played in a museum differs from inter-
CONTEMPORARY DESIGN STUDIES
pretation of decorative arts in the context
A special sequence in Contemporary Design Studies is offered of a historic house museum.
as part of the curriculum, exploring themes in design and visual, Museology addresses the questions:
material, and popular culture, with a focus on the post-World How are museums rethinking their inter-
pretation of decorative arts? What makes
War II period. Courses cover topics in environmental, industrial,
a decorative arts exhibition compelling?
graphic, fashion, and product design; the culture of consumption; What are some of the recent innovations
design criticism, and object theory. Students are introduced to in the field?
critical models of analysis integrating art, design, and decorative Advanced Curatorial Seminar intro-
duces students to standard practices
arts history with design theory and to other scholarly disciplines
associated with the acquisition, informa-
including anthropology, archaeology, cultural history, film studies, tion management, and exhibition of
philosophy, and sociology. Emerging issues, such as sustainability objects in a museum context.
and digital technology, are emphasized. The curriculum is enriched Seminar on the History of Collecting
by its connection to the contemporary design exhibitions of the surveys the history of collecting, from
the private study and princely Kunst
Cooper-Hewitt, National Design Museum.
kammer to the modern museum.
Colloquium on Design Criticism
REQUIRED COURSES
introduces students to the complexity of
Classes are held at the Cooper-Hewitt, National Design Museum the notion of design criticism and helps
unless otherwise noted. them develop their own critical voice
through a series of writing assignments.
Proseminar equips students with the skills required for scholar-
ship in the history of decorative arts. Class discussions introduce SELECTED MEDIA-BASED
a range of methodologies and critical approaches. Exercises train SURVEYS
students in essential tasks such as conducting formal analyses, Survey of Ceramics introduces the
writing catalog entries, and making visual presentations. This technology of ceramics and the history
of Asian ceramics, German porcelain,
writing-intensive course stresses the mechanics of expository
Chinese export porcelain, French porce-
writing through projects that require students to conduct research. lain, English pottery and porcelain, and
Each student selects one work from the Cooper-Hewitt collection American ceramics.
to study throughout the semester. Survey of Costume: 1700–1860 ana-

lyzes dress as a form of personal expres-
Survey of Decorative Arts I provides an overview of European sion shaped by societal conventions,
artistic trends, and established notions
decorative arts from the 15th through the 18th century, focusing on
of body and gender.
Italy, France, and England. Discussions address the style, function,
Survey of Glass focuses on Western
and meaning of the decorative arts in both daily and ceremonial glass-making methods, production,
life. Drawing on interdisciplinary readings, the course considers and design, from the ancient period to
objects and ornament within their cultural, political, and social the 19th century, including the major
techniques and designers.
contexts. As the semester progresses, students explore how the
transmission of style, the migration of craftsmen, and the availabil-
ity of new materials and techniques gave rise to an international
vocabulary of design.

Survey of Decorative Arts II examines the decorative arts from the Survey of Jewelry showcases the way
people across cultures and throughout
19th century to the present. Sessions on the 19th century consider
history have chosen to adorn themselves
neoclassicism, revival styles, the Aesthetic movement, the Arts and with jewelry.
Crafts movement, and art nouveau within the broader history of the Survey of Silver looks at the significant
period. Individual craftsmen, firms, and important stylemakers and role silver has played in the decorative
commentators on the decorative arts are discussed, as is the effect and fine arts since ancient times.
of industrialization on design and objects. In the 20th and 21st Survey of Textiles makes full use of
the Cooper-Hewitt’s extensive textile
centuries, the course addresses modernism and industrial design.
collection to introduce students to textile
Topics include the Wiener Werkstätte, Bauhaus, art moderne, creation and use through history.
“Good Design,” and postmodernism.
SELECTED SEMINARS:
LANGUAGE REQUIREMENT RENAISSANCE THROUGH
All graduate students are required to pass a proficiency exam in a EARLY MODERN (1500–1800)
foreign language. The selection of a language must be approved Intimate Objects: The Gift in
in advance by the program director. Exams are given and graded Renaissance Europe explores gift
giving in the complex social spheres of
every term. Students can audit foreign-language courses at The
Renaissance Europe and its effects on the
New School for General Studies. production, valuing, and interpretation
of objects.
INDEPENDENT STUDY The Arts and Living in Britain in the
Students may independently pursue a specific interest under the Long 18th Century 1660–1820 looks at
supervision of a faculty member or museum curator. Students may cultural and historical influences on taste
and social habits during the period.
take up to two independent studies.
Royal Furnishings of Versailles
focuses on the furniture and interior
INTERNSHIPS
design of the 17th and 18th centuries, a
Those who want more professional and practical experience can time when the palace at Versailles exem-
intern at an institution or business. Students taking an internship plified royal extravagance.
for credit must work a minimum of 120 hours per semester and keep French Ceramics focuses on the produc-
tion of porcelain at the major French
a log of their activities. The internship supervisor assigns projects
manufactories of the 18th century.
that give the student training and hands-on experience in the area
The Grand Tour examines the patrons,
of the supervisor’s expertise. artists, and events, such as the discovery
of Herculaneum and Pompeii, that led to
CONSORTIUM COURSES the grand tour’s widespread influence on
With the permission of the program director and depending on the arts of England.
availability, students may take graduate courses at the Bard Visualizing Revolution explores the
way works of visual and material culture
Graduate Center, City University of New York, Columbia University,
help to shape, reflect, and commemorate
Fashion Institute of Technology, and New York University. the revolutions that roiled France and
the United States at the end of the 18th
NEW SCHOOL COURSES century.
Students may register for approved graduate courses in other
SELECTED SEMINARS:
programs at Parsons, Milano The New School for Management and
1800–PRESENT
Urban Policy, and other divisions of The New School.
Nineteenth-Century British and
American Silver: From Craft to
LIBRARY CONSORTIUM Industry explores the significant trans-
In addition to the resources of the South Manhattan Research formations in the style, production, and
distribution of precious-metal objects in
Libraries Association (see Academic Resources), graduate stu-
both Britain and the United States.
dents in the this program have privileged evening and weekend
access to the Cooper-Hewitt Library.

SUMMER PROGRAMS IN EUROPE The Design of Modern Life:
The program offers two-week intensive summer courses in Berlin, Transformations of the Interior 1851–
1966 investigates the history of modern
London, Paris, and Rome. Led by renowned specialists in the design through notions of domesticity
field, the summer courses abroad concentrate on the furnishings, and the architecture of the interior.
objects, and interiors of important public and private collections, Designing American Lifestyles
as well as gardens and landscapes. 1876–1976 examines key American archi-
tecture and design movements that were
shaped into compelling “lifestyles” by
GRADUATE STUDENT ASSEMBLY
the design community as well as media
The Graduate Student Assembly is an organization through which figures and tastemakers.
students can organize symposia, field trips, professional round- Turn-of-the-Century American
tables and other special events. The GSA also acts as a liaison Material and Visual Culture assesses
late-19th- and early-20th-century
between students and the academic program, the museum,
American material and visual culture by
and alumni. examining painting, design, architec-
ture, cartoons, photography, sculpture,
ANNUAL GRADUATE STUDENT SYMPOSIUM ON THE HISTORY OF and other visual and material forms.
DECORATIVE ARTS AND DESIGN World’s Fairs: Art, Design, and the
Held at the Cooper-Hewitt, National Design Museum, this daylong World of Tomorrow examines the his-
tory of European and American world’s
student symposium brings together scholars and students of deco-
fairs as a way of understanding how
rative arts and design from around the world. Selected graduate cultural aspirations were represented and
students present papers. how the exhibitions affected the culture.
Graphic Design: Art Nouveau to
The symposium commences with a keynote address in memory of the Present explores the history of
the late Catherine Hoover Voorsanger, a distinguished scholar, 20th-century graphic design beginning
curator, and faculty member of the Parsons graduate program. with works from the art nouveau period
and concluding with the recent digital
Recent keynote speakers include Cheryl Buckley, Kenneth T. revolution.
Jackson, Ivan Gaskell, and Neil Harris. Fashioning the Postmodern Era
focuses on the postmodern era in
TEACHING ASSISTANTSHIPS Western fashion, considering trends of
Students can apply for a teaching assistantship in a Parsons destruction and morbidity, historical
reappropriation, and nostalgic revival
undergraduate program. Under the supervision of a faculty
in fashion.
member, students teach recitation sections of a lecture class in
Design, Nature, and the Environment
exchange for partial tuition remission. Second-year students can explores evolving ideas about design and
serve as discussion leaders for recitation sections of Survey of nature with an emphasis on built form in
the 20th century.
Decorative Arts I and II in the MFA program.
Twentieth-Century American
Graduate teaching fellows independently teach a section of a Popular Culture examines the intersec-
required undergraduate course in Art and Design Studies. Teach- tion of the popular and the material in
20th-century America and asks: what is
ing fellows are selected on the basis of academic distinction and popular culture, and what does it reveal
receive an honorarium. about life during the 20th century?
Advertising in America analyzes
MASTER’S CURATORIAL FELLOWSHIP advertising in relation to the evolution
Master’s fellows work one day per week in a curatorial department of American commercial life and society
from the late 19th century to the present.
of the Cooper-Hewitt, National Design Museum in exchange for
partial tuition remission. These one-year appointments involve
students in all aspects of curatorial work, gallery lectures, and
exhibition research. Fellows are selected on the basis of academic
distinction, and the positions are renewable for a second year,
provided a minimum 3.5 grade point average is maintained.

Laura Auricchio
Faculty
history of decorative arts
and design
Laura Auricchio’s students view, analyze, and explore the historical
significance of intriguing artifacts—wallpaper created as propaganda
during the French Revolution, the lace bed curtains made for Napoleon’s
first wife, Empress Josephine—as they participate in Parsons’ Decorative
Arts program, located at Cooper-Hewitt, National Design Museum.
Auricchio has worked at several of the world’s most renowned
museums, including the Museum of Modern Art, the Whitney Museum,
the Metropolitan Museum of Art, and the New-York Historical Society.
She enthusiastically shares her experience and expertise with the
students in her classes and those she advises.
When Auricchio is not teaching, she can often be found researching
and writing. She recently completed a book for the J. Paul Getty Museum
titled A Woman Artist of the French Revolution: Adélaïde Labille-Guiard
(1749–1803). She is now conducting research for a biography of the
Marquis de Lafayette, highlighting the role of visual and material culture
in shaping his starkly divergent reputations in the United States and
in France.
left Octagonal mount in the style of right El Dorado, designed by Eugène
Wedgwood. Probably France, late 19th Century. Ehrmann, Georges Zipélius, and Joseph Fuchs.
Porcelain. Cooper-Hewitt, National Design Manufactured by Zuber & Cie, 1849. Block
Museum, Smithsonian Institution. Gift of printed on continuous paper. Cooper-Hewitt,
Eleanor and Sarah Hewitt, 1925-2-26 a/d. National Design Museum, Smithsonian
Institution. Gift of Dr. and Mrs. William Collis,
1975-77-10. Photo: Ken Pelka.

top left Card file, Rolodex top right Chaise, in the style lower left Extrusions, designed lower right Tsuba (sword
Open Rotary File. Manufactured of John Henry Belter. U.S.A., by Alexander Hayden Girard, guard), Japan, 1596–1614. Iron.
by Rolodex USA, first produced 1840–1850. Rosewood veneer, oak 1962. Printed cotton. Cooper- Cooper-Hewitt, National Design
1950. Metal, plastic, rubber, paper. (frame), velvet upholstery. Cooper- Hewitt, National Design Museum, Museum, Smithsonian Institution.
Cooper-Hewitt, National Design Hewitt, National Design Museum, Smithsonian Institution. Gift of Bequest of George Cameron Stone,
Museum, Smithsonian Institution. Smithsonian Institution. Gift of Alexander H. Girard, 1969-165-123. 1936-4-42.
Gift of Rolodex Corporation, 1996- Mrs. Edwin Gould, 1937-4-1.
14-2. Photo: Dave King.

Brisé (folding) fan from Vienna World
Exposition. Austria, 1873. Wood, printed paper.
Cooper-Hewitt, National Design Museum,
Smithsonian Institution. Gift of Mrs. James O.
Green, 1920-10-2. Photo: Matt Flynn.

History of Decorative Arts and Design Faculty
Sarah E. Lawrence director. Areas of interest include art Susan Brown assistant curator of textiles, Cooper-Hewitt,
theory and Renaissance art. Publications : Piranesi as Designer National Design Museum. Specialist in textile history.
(2007), Jacopo Strada (2007). Exhibitions: Piranesi as Designer Publications include contributions to Extreme Textiles: Designing
(2007–08), Crafting a Jewish Style: The Art of Bezalel, 1906–1996 for High Performance (2005), and articles in National Design Journal
(1998–99). PhD, Columbia. and Hali. MA, Fashion Institute of Technology.
Ethan Robey associate director. Specialist in American and Hazel Clark chair of Art and Design Studies department,
European 19th- and 20th-century visual culture. Publications Parsons. Areas of interest include the history, theory, and
include contributions to Distinction and Identity: Bourgeois culture of design, fashion, and textiles. Publications include
Culture in Nineteenth-Century America (forthcoming), Design Design Studies: A Reader (2009); Old Clothes New Looks: Second
Dictionary: Perspectives on Design Terminology (2008), and Hand Fashion (2005), and articles in Design Issues, Design, and
Philadelphia’s Cultural Landscape: The Sartain Family Legacy (2000). Management Journal. Contributing editor to Design Philosophy
PhD, Columbia. Papers. PhD, Brighton University.
Donald Albrecht curator, Museum of the City of New Marilyn Cohen specialist in popular culture. Exhibitions
York. Specialist in 20th-century American material culture. include Reginald Marsh’s New York (1983). Published papers:
Exhibitions: National Design Triennial (2003), Russel Wright: “Furnishing I Love Lucy,” “The Material Culture of Toy Story,”
Creating American Lifestyle (2001), On the Job: Design and the and “The World’s Fair in the Movie Meet Me in St. Louis.” PhD,
American Office (2001), Glass + Glamour: Steuben’s Modern Institute of Fine Arts.
Moment (2003). Publications include Russel Wright: Creating Elizabeth de Rosa director, American Friends of
American Lifestyle and articles in Interiors, Architectural Digest, Attingham. Areas of interest include art nouveau and American
Architectural Record. BArch, Illinois Institute of Technology. and European art glass. Exhibitions include Tiffany: Behind the
Eric Anderson specialist in 19th-century German archi- Glass (2000), and History’s Mysteries (1998). PhD, Columbia.
tecture and theory of design. Exhibitions include Garden Clive Dilnot Art and Design Studies faculty, Parsons. Areas
Communities in Queens, 1909–1949 (2005). PhD, Columbia. of interest include design theory, history of art, and social
Laura Auricchio Art and Design Studies faculty, Parsons. philosophy. Publications include Ethics? Design? (2005) and
Areas of interest include 18th-century French women artists, articles in Design Issues, I.D., and Kunst & Museumjournaal. MA
gender studies and contemporary visual culture. Publications Leeds University.
include A Woman Artist of the French Revolution: Adelaide Labille- Tracy Ehrlich specialist in architecture and landscape
Guiard (2008); articles in Art Journal, Eighteenth-Century Studies, design of early modern Italy. Publications include Landscape
and Genders; and art criticism in Art on Paper, Art Papers, and Time and Identity in Early Modern Rome: Villa Culture at Frascati in the
Out New York. PhD, Columbia. Borghese Era (2002); Villas and Gardens In Early Modern Italy and
David Brody Art and Design Studies faculty, Parsons. France (2001); and articles in Die Gartenkunst, Landscape and
Specialist in material culture, visual culture, and design studies. the Journal Of Garden History. contributor to the Dumbaton
Publications include Design Studies: A Reader (2009); Visualizing Oaks Colloquium on the History of Landscape Architecture (2005).
Empire: Orientalism and American Imperialism in the Philippines PhD, Columbia.
(forthcoming), and articles in Prospects: An Annual of American Barry R. Harwood curator of decorative arts, Brooklyn
Cultural Studies, Journal of Asian American Studies, American Museum. Exhibitions include the Furniture of George
Quarterly. PhD, Boston University. Hunzinger: Invention and Innovation in Nineteenth-Century
America (1997) and Tiffany Glass and Lamps at the Brooklyn
Museum (1991). Publications include The Furniture of George
Hunzinger (1997), and articles in The Magazine Antiques and
Studies in the Decorative Arts. PhD, Princeton.

Kristin Herron director of the museum program, New York Denny Stone collections manager of European sculpture and
State Council on the Arts. Specialist in historic house museums. decorative arts, Metropolitan Museum of Art. Curated numer-
Publications include “The Modern Gothic Furniture of Pottier ous exhibitions including Elegant Fantasy: The Jewelry of Arline
& Stymus” in The Magazine Antiques. MA, Winterthur Program; Fisch (2003). MA, Fashion Institute of Technology.
MFA, University of North Carolina at Greensboro. Sean Sawyer architectural historian. Former executive
Ulrich Leben associate curator of furniture, The Rothschild director of the Wyckoff Farmhouse Museum. Publications
Collection, Waddesdon Manor, Buckinghamshire, Great Britain. include articles in the Journal of the Society of Architectural
Specializes in French and German decorative arts. Publications: Historians and Architectural History and contributions to
monograph on Bernard Molitor (1755–1833) and works on French Architecture and Pictures from Antiquity to the Enlightenment (2002)
and German decorative arts. Exhibitions: Jean Jacques Bachelier and The Houses of Parliament: History, Art, Architecture (2000).
(1724–1806), Musée Lambinet, Versailles; and Charles Honoré PhD, Columbia.
Lannuier (1779–1816), Metropolitan Museum of Art. PhD, Deborah D. Waters deputy director of collections and
Universität Bonn. exhibitions, Museum of the City of New York. Publications
Sarah A. Lichtman Art and Design Studies faculty, Parsons. include Elegant Plate: Three Centuries of Precious Metals in New York
Areas of interest include interiors, feminist design history, City (2000), Plain and Ornamental: Delaware Furniture, 1740–1890
and 20th-century design. Publications include Interior Design (1984), and contributions to Art and the Empire City (2000). PhD,
in the Twentieth Century: Europe and the USA (forthcoming), and University of Delaware.
articles in Studies in the Decorative Arts and the Journal of Design John Wilton-Ely professor emeritus, University of Hull.
History. PhD candidate, Bard Graduate Center for Studies in the Scholar of 18th-century art, architecture, and decorative arts.
Decorative Arts. Publications include Piranesi: The Complete Etchings (1994),
Mary Cheek Mills Curator, Corning Museum of Glass. Piranesi as Architect and Designer (1993), The Art and Mind of
Specialist in American glass history. Publications include Giovanni Battista Piranesi (1988), and articles on Beckford,
“The Cooperative Venture of Union Glass Works, Kensington, Hawksmoor, Wren. MA, Cambridge University; Courtauld
Pennsylvania, 1826–42,” Journal of Glass Studies (1992). MA, Institute of Art, London University.
Winterthur program in Early American Culture. Diane C. Wright curatorial intern, Yale University Art
Tessa Murdoch deputy keeper of Sculpture, Metalwork, Gallery. Specialist in the history of glass. Publications include
Ceramics and Glass, Victoria and Albert Museum. Specialist in articles in Decorative Arts Society Newsletter. MA, Parsons/
Metalwork and 17th- and 18th-century English silver. Curator Cooper-Hewitt, National Design Museum.
of numerous exhibitions. Publications include Huguenot Karen Zukowski former curator, Olana State Historic Site.
Goldsmiths in Northern Europe and North America (2008) and Noble Specialist in 19th-century American decorative and fine arts,
Households: 18th-Century Inventories of Great English Houses (2006). and interior design. Publications include Creating the Artful
PhD, University of London. Home: The Aesthetic Movement (2006) and contributions to
Anne-Marie Quette conférencière of the Musées Nationaux Frederic Church’s Olana: Architecture and Landscape as Art (2001).
de France and Musée des Arts Decoratifs in Paris. Specialist in PhD, City University of New York.
French furniture. Publications include Le Mobilier Français:
Louis XIII, Louis XIV (1996), and Le Mobilier Français: Art Nouveau
1900 (1995).
Kristel Smentek Mellon Curatorial Fellow, the Frick
Collection. Specialist on 18th-century French art and decora-
tive arts. Publications include Rococo Exotic: French Mounted
Porcelains and the Allure of the East (2007) and contributions to
À l’origine de livre d’art, Les recueils d’estampes comme entreprise
éditoriale en Europe (forthcoming), and French Genre Painting in
the Eighteenth Century (2007). PhD, University of Delaware.

INTERIOR DESIGN
Today’s interior designers face unprecedented challenges. They Facilities and Resources
are expected to incorporate sustainable design practices and Students work in an open, 5,000-square-
enhanced building performance into their work. They need to stay foot studio space across two floors in a
loft building. The space is shared with
abreast of new developments in technology and materials. They
graduate students in Architecture and
must meet a variety of new client needs as a result of social change Lighting Design, a setup that encourages
and shifts in demographics. dialogue across disciplines. In the studio,
students are given dedicated work spaces
Parsons’ new MFA in Interior Design program* is poised to meet from which wireless technology is acces-
these challenges and play a leading role in addressing the interior sible. An adjacent computer lab gives
students access to software programs
design issues of the 21st century. The course of study emphasizes
specific to the profession, along with
the history and theory of interiors; technology, fabrication, large format plotters and printers. A
and sustainability; and interior design as a social practice. The lighting lab and staffed fabrication shop
with digital and traditional equipment
program also offers instruction on materials and related issues,
are also located next to the studio, and
including sustainable practices, fabrication processes, and digital use of the nearby metal fabrication shops
technologies. Graduates are trained to become outstanding in the Fine Arts Department is encour-
aged. The Donghia Materials Library,
professionals and teachers of the next generation of practitioners.
generously donated by the late interior
The only graduate program of its kind in the United States today, designer Angelo Donghia, is curated to
reflect sustainable and emerging materi-
the MFA in Interior Design offers instruction of unparalleled depth. als and is an important resource for core
The practice of interior design intersects with architecture, product courses. Coursework is also supported
design, and engineering. The Parsons program is integrated with by the research libraries consortium
(see Academic Resources, page 16).
graduate programs in lighting design and architecture.
Parsons expects this new program to receive quick accredita-

tion from the Council of Interior Design Accreditation, which is fast
becoming the benchmark by which interior design programs are
recognized by educators and students and for state approvals
for licensure.
For more information, visit newschool.edu/parsons.
*New York State approval pending
76 INTERIOR DESIGN
INTERIOR DESIGN 77
CASE STUDY: AFTER TASTE Recent AFTERTASTE
“AfterTaste” is a yearly symposium dedicated to the critical study PARTICIPANTS
of the interior. It offers an expansive view of the field, highlighting Constance Adams interior designer for
emerging areas of research, identifying allied practices that influ- NASA’s International Space Lab
ence interior design, and making public its rich and underexplored Jay Bernstein historian and philosopher
territory. The series signals a move away from the popular image of Petra Blaisse interior and textile
interior design as a limited field of taste making and expands the designer of the Amsterdam-based firm
scope of the discipline to include emerging issues. Each sympo- Inside/Outside
sium is thematically structured to address topics relevant to the Andrew Blauvelt design director and
curator at Walker Art Center
enrichment of interior design. Recent themes include “Pedagogical
Models,” “Theoretical Paradigms,” “Alternative Sites of Practice,” James Casebere photographer
“Representing the Interior,” the “Narrative Life of Things,” and the Beatriz Colomina historian of
“Intellectual History of Taste.” postwar domesticity
Jamie Drake Drake Design Associates

Kitty Hawks Kitty Hawks Incorporated
Julie Lasky editor-in-chief,

I.D. magazine
Emmanuelle Linard trend forecaster at

Li Edelkoort Inc.
Julieanna Preston co-author of Intimus:

An Interior Design Theory Reader
The Quay Brothers London-based film

and set designers
Penny Sparke director of London’s

Centre for the Modern Interior
Susan Szenasy chief editor of

Metropolis magazine
Anthony Vidler theorist and historian

of the domestic realm
Mark Wigley theorist of early

modern interiors
Susan Yelavich author of Contemporary

World Interiors
78 INTERIOR DESIGN
CURRICULUM Electives
The two-year program is a 60-credit-hour, full-time professional Elective courses enrich the field of
graduate degree based on a studio-centered curriculum. Design study by crossing the disciplines in
Interior Design, Lighting Design, and
studios provide the foundation for each semester, complemented
Architecture. They enable students to
by core subjects designed to redefine the field. Additional courses address a range of issues and build on
in methods of representation encourage interdisciplinary dialogue individual interests that typically include
with graduate students in Lighting Design and Architecture. Two history and theory, digital representation
and fabrication, furniture making,
departmental electives allow for further individual choice of study. interior lighting, and environmentally
The last semester culminates in a thesis project. sustainable practices.
FIRST YEAR: FALL

Design Studio I introduces fundamental interior design issues
including form, space, threshold, light, color, and scale through
a series of design and analytical projects that emphasize the
inventive and conceptual dimension of design. The course also
contributes to the formation of a shared project-based vocabulary
for interior designers by incorporating the analysis of canonical
precedents into the design work.
Interior Design Survey focuses on the development of interior

styles as an expression of cultural, material, political, and
aesthetic conditions from the 17th century to the present. It
explores the evolution of interior design as a discrete field of
practice and its recent emergence as an academic discipline
and certified profession.
Environmental Technology explores the science and technology

for measuring and maintaining comfort conditions and ecological
balance within buildings, with emphasis on high-performance
sustainable design and systems integration. Supervised
construction site visits provide case studies that demonstrate the
practical application of theoretical concepts.
Representation and Spatial Reasoning explores techniques of

architectural representation in order to develop students’ abilities
to think, draw, and analyze architecture and interior spaces. The
course is a critical exploration of the conventions of architectural
drawing plans: section, elevation, 1-, 2-, and 3-point perspective,
axonometry, parallel line projection, shadow projection, oblique
projection, and descriptive geometry.
FIRST YEAR: SPRING

Design Studio II builds upon Studio 1, adding the application and
integration of materials and building systems and sustainable
technologies as design parameters. Equal emphasis is placed
on of macroenvironments and microenvironments within the
interior and on the use of metrics in assessing the performance
of projected design proposals.
INTERIOR DESIGN 79
Theory of the Interior investigates the theoretical foundations PREPARATION FOR ADMISSION
of the practice of interior design. Themes include taste, Admissions to the MFA in Interior Design
comfort, fashion, lifestyle and the everyday documents. Sources are managed directly by the School of
Constructed Environments.
used include films, television shows, shelter magazines, and
Email aidladmission@newschool.edu
advertisements as well as more traditional cultural documents.
for information about applying.
Applicants must have an undergraduate
Materials and Performance explores materials and their properties,
degree before entering the program.
including color, reflection, finish, environmental impact, and Persons with other than a design-based
performance. In the course, students produce full-scale detailed degree are encouraged to apply but may
mock-ups using nondigital means of production. be required to take the Parsons summer
program in Architecture to establish
Forms of Programming addresses the factors involved in design and drawing foundations prior to
starting graduate work.
programming spaces. Contemporary models are used to explore
Visit Parsons, tour the studios, and meet
client and user relationships, critical and analytical thinking,
the faculty and students. Arrangements
human behavior, research, and systems and methods of for Interior Design tours can be made by
communication. calling 212.229.8955 or emailing
aidladmission@newschool.edu.
SECOND YEAR: FALL
Design Studio III is a comprehensive design studio in which
students creatively synthesize site and program analysis, building
technologies and systems, and aesthetic and material intentions
into a detailed design proposal.
Fabrication and Processes develops skills for understanding,

forming, and articulating a design problem and its solution,
specifically in regards to the manufactured components of an
architectural interior.
Thesis Preparation is a research seminar in which students develop

a written and graphic proposal for a capstone studio project. Each
student conducts in-depth self-guided research and develops a
critical and theoretically informed position on a topic issue in the
field of interior design.
SECOND YEAR: SPRING

Thesis Studio is the capstone studio course, in which the student
conducts research in a selected aspect of the interior design field.
Projects must demonstrate rigorous analytic thinking as well as
coherent development and design resolution. With the consent of
the respective thesis committees, students may collaborate on a
project with colleagues in Architecture or Lighting Design.
Professional Practice provides an overview of the legal, ethical

and economic aspects of the practice of architecture and interior
design. Students critique contemporary models of practice and
study the role of economics, contracts, liability, licensure, and
standards of practice in shaping the contemporary interior design
and architectural professions.
80 INTERIOR DESIGN
Lois Weinthal
Director
mfa in interior design
The director of the new MFA in Interior Design, Lois Weinthal is working
with her colleagues at Parsons to shape the program. Weinthal says, “The
new MFA program is exciting because it recognizes that people are doing
inventive things in interiors and it relies heavily on an interdisciplin-
ary approach. In other words, it relates other creative fields like textile
design and material fabrication to interior design. We are working with
the best people in the field to develop courses unlike any others.”
Approaching a subject from new and unique angles is one of the
things that Weinthal does best. In her own research, she analyzes inte-
riors as layers, beginning with the human body and moving outward to
clothing, furniture, textiles, rooms, architecture, and even streetscapes.
Weinthal says, “Beginning a new MFA program at Parsons is particu-
larly exciting because the school is home to some of the most renowned
trendsetters and fashion forecasters in the world. We can tap into the
experience and expertise of instructors throughout the university, which
will enhance the interdisciplinary approach that the study of interior
design demands.”
Closet #1, Parsons’ Kitchen (1994), designed
by faculty member Allan Wexler as part of his
renowned “Closet Architecture” series, serves
as a bar and meeting place for public events
in the department’s public gallery space.
INTERIOR DESIGN 83
top left Melanie Ide (faculty member), right Lois Weinthal (faculty member),
Ralph Abbelbaum Associates, Hall of Felt Plug Chair
Biodiversity, American Museum of Natural
History. Photo: AMNH and Peter Mauss/Esto
bottom left Alfred Zollinger

(faculty member), Matter Practice,
Ecotopia Installation
84 INTERIOR DESIGN
Interior Design Faculty
William Morrish dean, School of Constructed colors, materials, and finishes for architecture and interior
Environments; architect; urban planner; architectural histo- design projects, many of which were featured in Progressive
rian. Scholarly focus: sustainable urban infrastructure and an Architecture , Interior Design, and House & Garden. In 1999, she
interdisciplinary approach to the design of cultural ecolo- joined Peter Marino Architect where she worked until starting
gies; new housing models; global urbanization and climate her own firm, Mary Delaney Interior Design, in 2001. Her prac-
change. Projects: Phoenix Public Art Works program, team tice focuses on high end residential interiors; recent projects in
THINK’s proposal for rebuilding the World Trade Center, New York City and Palm Beach. BFA, Pratt Institute.
design assistance on plans for rebuilding New Orleans, and a Melanie Ide project director, Ralph Applebaum Associates.
comprehensive review of the United Nations Habitat for Human Projects: Bishop Museum, Hawaii; strategic plan, Dallas
Settlements Program’s global work plan. Publications include Museum of Natural History; design competition, World Trade
Civilizing Terrains: Mountains, Mounds and Mesas; Building for the Center Memorial; the Clinton Presidential Library and Museum;
Arts: A Guidebook for the Planning and Design of Cultural Facilities and the American Museum of Natural History. She has designed
(co-author); Planning To Stay: Learning to See the Physical Features exhibits for the New York Public Library, Whitney Museum
of Your Neighborhood (co-author); Growing Urban Habitats: Seeking of American Art, Japanese American National Museum.
a New Housing Development Model (co-author); and “After the Published: Architectural Record, Business Week, Interiors, I.D., and
Storm: Rebuilding Cities upon Reflexive Infrastructure,” Social Communication Arts. BA in Architecture, University of California
Research. BArch, University of California, Berkeley; MArch at Berkeley.
Ioanna Theocharopoulou architect and architectural
Joanna Merwood director of academic affairs, School historian. Scholarly focus: history and theory of interiors;
of Constructed Environments. Architectural historian. sustainable design; urbanization in the developing world.
Published: “Western Architecture: The Inland Architect, Published: Negotiating Domesticity: Spatial Production of Gender in
Race, Class and Architectural Identity,” “Chicago Is History,” Modern Architecture; Paradigmata, 9th International Architectural
“The Mechanization of Cladding: The Reliance Building and Exhibition, Venice Biennale; Landscapes of Development: The
Narratives of Modern Architecture.” BArch, Victoria University Impact of Modernization on the Physical Environment of the Eastern
of Wellington; MArch, McGill; MA and PhD, Princeton. Mediterranean. AA Diploma, Architectural Association, London;
Lois Weinthal director of Interior Design programs and MSAAD, MPhil in Architecture, and PhD, Columbia.
co-organizer of the AfterTaste symposia and publication series. Tim Ventimiglia architect and museum and exhibit designer.
Principal of Weinthal Works, a design practice that draws rela- Design studio director and associate, Ralph Appelbaum
tionships between architecture, interiors, clothing and objects. Associates. Awards: Industrial Designers of America award,
Awards: Graham Foundation grant, Fulbright Award, DAAD Top Honor Award, Society of Environmental and Graphic
Award for residency that led to the international exhibit Berlin: Design. Lectures and Exhibitions: Cornell University; Haus der
A Renovation of Postcards. Curated exhibitions: Architecture Architektur, Graz, Austria; Cornell Studio, Berlin. BArch and
Inside/Out, Center for Architecture in NY (2007). BArch and MArch, Cornell.
BFA, RISD; MArch, Cranbrook Academy of Art .
Allan Wexler architect, designer and fine artist. Research
Laura Briggs partner, BriggsKnowles Architecture+Design. focus: objects, buildings, and environments that blur the
Projects include speculative work on the city and research into the borders between architecture and sculpture and isolate, elevate,
integration of photovoltaic and interactive energy technologies or monumentalize daily rituals like dining, sleeping, and bath-
into building surfaces. Published in: A+D, Metropolis, New York ing. Represented by the Ronald Feldman Gallery. Exhibitions:
Times, Dwell, Dwell-TV, Domus. Lectures and exhibitions: Cornell, Aldrich Museum of Contemporary Art, Atlanta College of Art,
Columbia, RISD, University of Michigan, Kent State, International SF MoMA, Contemporary Art Center. Books: Custom Built: A
Solar Energy Society, American Solar Energy Society, Storefront Twenty-Year Survey of Work; GG Portfolio Allan Wexler. BArch and
for Architecture, Van Alen Institute. BFA and BArch, RISD; BFA, RISD; MArch, Pratt Institute.
MArch, Columbia. Peter Wheelwright associate professor of architecture;
Katherine Chia architect, principal of Desai/Chia principal, PMW Architects. Published: Progressive Architecture,
Architecture. Portfolio includes residential, retail, and Architecture, Metropolitan Home, Metropolis, New York Times,
commercial projects as well as commissions for furniture Ottagono, Architectural Record, Journal of Architectural Education,
and product design. Awards: American Architecture award, ACSA Journal. BA, Trinity College; MArch, Princeton.
several American Institute of Architects Design awards, Alfred Zollinger co-principal, Matter Practice, an archi-
Residential Architect Design award, New York magazine’s Best tecture and exhibition design firm. Precision machinist and
of New York. Exhibited: Center for Architecture, NYC; Herman fabrication specialist. Research focus: the process of making as
Miller showrooms, NYC and LA. Published: New York Times, a mode of critical inquiry. Projects: National Building Museum;
New York Observer, Architectural Record, Interior Design, Elle Japan, Cooper-Hewitt, National Design Museum; and International
New York Magazine, Architect’s Newspaper. BA, Amherst College; Center of Photography. BArch, RISD; MArch, Cranbrook
MArch, MIT. Academy of Art.
Mary Delaney Penick began her design career in 1981 at
INTERIOR DESIGN 85
Skidmore Owings and Merrill with primary responsibility for
LIGHTING DESIGN
Lighting has been an important part of design education at Parsons A|L Light & Architecture
since the school launched the first graduate program in architec- Design Awards Banquet
tural lighting design in the early 1970s. Today, it is the only graduate Table (opposite)
lighting program that emphasizes design and social practice. Graduate students from Parsons took
part in a two-week design/build
Working in collaboration with interior design and architecture charrette, in which they created a table
students, lighting design students learn to envision architectural for the annual A|L Light & Architecture
Design Awards Roundtable dinner.
space and exterior environments in light. They are trained to see
This collaboration between Architectural
light as the medium through which visual information is registered, Lighting magazine and the Lighting
activities are conducted, and social interactions take place. The Design program brought students and
design professionals together.
program is distinguished by its faculty and by its emphasis on
Each place setting was equipped with
sustainable practices and the aesthetic, physiological, and psy-
springs that were activated when
chological aspects of lighting design. tableware was placed on top, causing
the setting to light up. A graphic created
The four-semester MFALD program enrolls students from all over the from a photometric chart of T5 lamps
world. New York, home to the largest lighting design community in was etched into the table’s surface.
the world, offers students a laboratory of light, rich with examples to
study and emulate. Assisted by a faculty drawn from the city’s pool
of professionals, lighting students have abundant opportunities to
intern and interact with leading global practitioners.
Graduates go on to careers as architectural lighting designers in

private practice, lighting specialists in architecture and interior design
firms, theatrical and exhibition lighting specialists, and research
professionals in equipment design and manufacturing enterprises.
Students interested in combining graduate studies in lighting

design and architecture can earn a unique dual degree:
the MArch/MFALD combines the NAAB-accredited Master of
Architecture with the master’s degree in Lighting Design. This
142-credit program prepares students for a wide range of career
opportunities in this expanding field. For complete curriculum,
faculty, and course information, visit newschool.edu/parsons
and go to Degree Programs: Lighting Design.
86 LIGHTING DESIGN
LIGHTING DESIGN 87
CURRICULUM FACILITIES AND RESOURCES
The two-year, full-time Master of Fine Arts in Lighting Design is Lighting Design students work in an
a 64-credit curriculum. Fifty-two credits are in lighting-specific open studio alongside graduate archi-
tecture and interior design students. A
subjects, including four 6-credit Lighting Design Studios. This
lighting resource library and a lighting
design studio sequence is complemented by technology courses laboratory are adjacent to the studio.
and classes in the cultural, historical, and perceptual aspects of Students have access to all department
lighting design, including 9 elective credits. resources, including a fabrication shop
and the Donghia Materials Library
and Study Center. Use of the Fine Arts
REQUIRED COURSES
metalworking shop one floor up and the
The studio experience, in which students learn to envision form and nearby Resource Center is encouraged
space in light, is the core of the curriculum. Its goal is to integrate and promotes exchanges with other
MFA students. The studio is equipped
each student’s background with the curriculum through projects
with wireless digital technology, and
guided and evaluated by working professionals. The studios move students have access to computer labs
from the theoretical expression of light through research, study, and on both of the department’s floors and to
design toward professional application in the built environment. the university’s nearby computer center.
Participation in the department’s lecture
Studio I addresses abstract projects that explore fundamental series and exhibitions promotes interac-
tion among students in lighting Design,
design components: light, color, form, space, plane, rhythm, architecture, and interior design.
balance, and texture. This study begins in two dimensions, All students are required to have a laptop
proceeding through three dimensions to full-scale environmental computer. The department provides
study. In the context of this initial investigation of light as a design hardware specifications and software
(updated annually). There is a university
medium, students discover various means of representation,
purchasing program to help students
including photography, hand and computer rendering, and who need to purchase a laptop before
computer simulation in three dimensions. beginning classes.
Studio II focuses on the massing and orientation of architectural

form and fenestration to integrate daylight in interior spaces.
Electric lighting is addressed as a complement to sunlight.
Particular attention is given to the relationship between diurnal
and nocturnal light and to qualitative aspects of habitation and
functional use in social space.
Studio III proceeds to the comprehensive development of

architectural lighting design through projects addressing client
needs, programs, technical lighting, and control requirements
for specified applications. Students explore larger and more
challenging architectural spaces and exterior areas with a focus
on the urban. They employ a variety of techniques, including
computer visualizations, physical models, and full-scale mock-ups.
Designs are developed with illuminance calculations, construction
documentation, and presentation drawings.
Thesis Studio (Studio IV) completes the studio experience. It is

supported by a thesis seminar, in which students learn research
methodologies directed toward a written thesis. A range of typologi-
cal projects are presented from which students can develop design
research. Individual projects are fully developed in the final studio,
including all associated research, documentation, drawing, and
developmental models. This allows students to experience a project
88 LIGHTING DESIGN
from start to finish, mentored by instructors and guest critics. ELECTIVES
Students who wish can collaborate with Architecture or Interior Electives are offered to students across
Design students and faculty on a final project. disciplines in Interior Design, Lighting
Design, and Architecture to enrich
Principles of Light surveys topics that influence lighting design their field of study. Optional electives
supplement historical, technical, or
decisions, including properties of materials as they relate to light,
digital knowledge. Independent study
codes, the use of catalogs, documentation, and health effects of options allow students to explore topics
light. This class also introduces technical and practical aspects of particular interest. The following
of lighting design, including the physics of light, lamp technology, electives are drawn from the MFA
Lighting Design program.
application of photometric data, optics, and calculations.
Light: A Design History provides a
Architectural History is a core course shared with graduate premodern and modern survey focus-
ing on the impact of light on people’s
architecture students. Students enroll in either Modern and
lives and on their relationship to the
Postmodern Architecture or Issues and Practices of Modern built environment. Particular attention
Architecture, depending on their previous education. The former is a is given to the evolution of aesthetic,
religious, philosophical, and psychologi-
survey of movements and theories in architecture, landscape, and
cal theories of light over time and within
urban design. In the latter, students apply a case-study methodology. diverse cultures. Study of the develop-
ment of electric lighting and its global
Light, Perception, and Culture I discusses how lighting design is effect on social practice, economics,
influenced by the human perceptual system and the culture of the leisure activity, and design serves as a
time. The need to control the quality and quantity of light has pro- basis for students to speculate on future
possibilities.
foundly affected the organization of architecture and public space.
Landscape and Urban Light, taught
Students develop an understanding of how human beings react
by a landscape lighting designer and a
to and interact within light by exploring contemporary theories of landscape architect, is a survey of the
perceptual, somatic, and aesthetic responses to light. history and theory of public urban and
landscape space with an emphasis on the
Daylight and Sustainability, a companion lecture course to Studio role of lighting. Issues explored include
cultural landscapes, landscape percep-
II, trains designers to observe, analyze, describe, manipulate, and
tion, sustainability, and methodologies
evaluate daylight and its effect on interior spaces. Topics include for studying urban space.
solar motion and prediction methods, calculations, the interaction Designing the Nighttime
of day lighting with building orientation, interior finishes, window Environment is taught by an urban
configuration, control devices, and interior and exterior shading. designer and a lighting designer. The
nighttime environment is explored
Students are introduced to the impact of lighting strategies on through film, literature, fine arts,
energy consumption, which is central to the practice of sustainable theater, and other modes of cultural
architecture. expression. In addition, mapping
research into the technical constraints in
Critical Light: Twentieth-Century Theory explores a range of urban lighting offers a broader cultural
understanding of the shape of New York
approaches and methodologies that have driven architectural and
City as defined by light.
design theory from the late 19th century through the 21st century. In
particular, this seminar considers the role of light as a protagonist in
many influential design theories and related discourses.
Luminaire and Systems Technology explores material and fabrica-

tion aspects of the equipment used in lighting interior and exterior
spaces. Major topics include electrical theory and practice, codes,
control systems, energy management, and ballast technology.
The course also covers thermal issues, including luminaire perfor-
mance, regulatory requirements, overall building performance,
and systems integration.
LIGHTING DESIGN 89
Luminaire Design, a companion studio to Luminaire and Systems MORE ELECTIVES
Technology, explores the design of fixtures, including aesthetic Light as Art leaves behind quantifiable
and technical forms, as well as the influences of fabrication and applications of lighting systems and
numerical calculations to investigate
mass production on both decorative and utilitarian luminaires.
formal and philosophical notions of light
Full-scale model building and functional mock-ups are used for as a medium of poetic and artistic expres-
study and for presentation. sion. Students experiment with light
sources, technologies, refractive materi-
Light, Perception, and Culture II covers subjective and objective als, and electrical devices to explore
responses to light, the psychological aspects of lighting design, aspects of space, scale, time, and rhythm.
Studies include tabletop assemblies,
and the impact of energy ethics on lighting decisions. Architectural
exercises in drawing abstraction, evalua-
photography is used to develop students’ ability to observe light. tion of musical structures, and full-scale
Study of light in performance (in its theatrical and postmodern architectural installations.
expressions) helps students understand evolving cultural Lighting Principles in Architecture

and Interior Design introduces light-
perspectives and contemporary representations of identity and
ing history, lamp source technologies,
social practice. luminaire optics, calculations, and
design applications. Students analyze a
Professional Practice, the final lecture course of the curriculum, site in New York City and propose a light-
explores business and professional aspects of the lighting design ing design based on technical, program-
field, including ethics, project management, business structures for matic, and aesthetic needs.
design offices, legal issues, contracts, fees, codes, specifications,

and construction administration protocols.
PREPARATION FOR ADMISSION

Admissions to the MFA in Lighting Design are managed directly by
the School of Constructed Environments. For information about
applying, email aidladmission@newschool.edu.
All applicants must have an undergraduate or graduate degree,

preferably in one of the following design-based disciplines:
architecture, environmental design, interior design, engineering,
product design, fine arts, or theater arts. Applicants with
undergraduate degrees in other fields may be accepted
conditionally with the requirement that they successfully complete
the Parsons summer program in Architecture before beginning
graduate courses.
90 LIGHTING DESIGN
Glenn Fujimura
Dual-Degree Student
lighting design and
architecture
A dual master’s degree candidate in Lighting Design and Architecture,
Glenn Fujimura is particularly interested in the relationship between
light and sustainable design. Derek Porter, director of the Lighting De-
sign program, played an important role in Glenn’s decision to attend The
New School. Glenn says, “Derek believes, as I do, that the best approach
to lighting is as a design process that merits intellectual and aesthetic
examination rather than simply as a technical field of study.”
Glenn’s design for the renovation of a library in Harlem addresses the
interplay between light and heat by including suggestions for diffus-
ing and absorbing daylight to reduce its high energy loads. In addition
to enjoying opportunities to apply what he is learning, Glenn says, he
benefits from the expertise and experience of his instructors. “The staff
and faculty in the Lighting Design program are amazing. You can’t beat
the people. These are award-winning designers at the forefront of the
industry, and yet they are deeply committed to their students.”
Although Glenn spends much of his time in the library, lab, and
studio, whenever possible he takes advantage of the free admission to
the Museum of Modern Art available to all New School students.
top Phan Dung, New Image of the City: bottom left Merve Sila Karakaya,
Luminous Lite, Thesis Studio The Dual Role of Architecture and Lighting
in the Creation of Fantastic Settings
bottom right Tanakorn Meennuch,

Reexamining Union Square, Thesis Studio
LIGHTING DESIGN 93
top left Erin Devries, Daylight and right Megan Casey, Emerging Illuminance:
Interior Space, Thesis Studio Recontextualizing Light Energy Impacts in
the 21st Century, Thesis Studio
bottom left Evgenia Kremezi, Scholars
Library, Studio II
94 LIGHTING DESIGN
Graduate students design/build project A/L
Design Awards banquet table
LIGHTING DESIGN 95
Lighting Design Faculty
William Morrish dean, School of Constructed Jim Conti lighting designer. Awards: IESNY Lumen, Nuckolls
Environments; architect; urban planner; architectural Fund for Lighting Education, Linked by Light. Projects and cli-
historian. Scholarly focus: sustainable urban infrastructure ents: Steelcase, Alliance for Downtown NY, Brooks Brothers, New
and an interdisciplinary approach to the design of cultural World Foundation, New Balance. Published: Radical Landscapes,
ecologies; new housing models; global urbanization and Artforms, LD+A, Interiors, Architectural Record, Architectural
climate change. Projects: Phoenix Public Art Works program, Review, New York Times. Associate member, IALD, IESNA. MFA,
team THINK’s proposal for rebuilding the World Trade Center, Ohio State University.
design assistance on plans for rebuilding New Orleans, and a
Jessica Corr founding member of Collaborative , an interdis-
comprehensive review of the United Nations Habitat for Human
Settlements Program’s global work plan. Publications include ciplinary design group. Projects and exhibits: Exquisite Cannibals,
Civilizing Terrains: Mountains, Mounds and Mesas; Building for the Massachusetts College of Art; Double Exposure, multimedia set
Arts: A Guidebook for the Planning and Design of Cultural Facilities design for the Alvin Ailey Dance Co.; R & D consultant for new
(co-author); Planning To Stay: Learning to See the Physical Features materials, Prada; Cooper-Hewitt National Design Triennial; Ten
of Your Neighborhood (co-author); Growing Urban Habitats: Seeking Avant-Garde Industrial Designers Exhibition. Published: Dish, I.D.,
a New Housing Development Model (co-author); and “After the Interni, Frame, Interiors, Elle Décor, Graphis. BFA, Parsons.
Storm: Rebuilding Cities upon Reflexive Infrastructure,” Social Jean Gardner activist, writer, architecture, and landscape
Research. BArch, University of California, Berkeley; MArch historian; consultant on sustainable design issues. Founding
member, Environment ’90, Earth Environmental Group.
Joanna Merwood director of academic affairs, School of Co-author: Cinemetrics: Architecture Drawing Today. Author: Urban
Constructed Environments; architectural historian. Published: Wilderness: Nature in New York City. Has also taught at Columbia,
“Western Architecture: The Inland Architect, Race, Class and Pratt, and Cornell. BA, Smith; MA, Columbia University.
Architectural Identity,” “Chicago Is History,” “The Mechanization
Stephen Horner IESNA, LC. Senior designer, Tillet Lighting
of Cladding: The Reliance Building and Narratives of Modern
Design Inc. Projects: Linked Hybrid, Beijing; Juilliard School
Architecture.” Awards: Dissertation colloquium speaker, Temple
and Alice Tully Hall renovation, NYC; Lincoln Center South
Hoyne Buell Center; Howard Crosby Butler Summer Traveling
Campus masterplan, NYC. Awards: Jonas Bellovin Award for
Fellowship, Princeton. BArch, Victoria University of Wellington;
Academic Achievement, Nuckolls Fund for Education. BA, Sussex
MArch, McGill; MA and PhD, Princeton.
University; MFA, Parsons.
Derek Porter director of Lighting Design. Principal, Derek
Nelson Jenkins LEED, LC, RA. Founder, Lumen Architecture,
Porter Studio. Projects: lighting design for self-storage facility
PLLC. Member: AIA, IESNA, and Designers Lighting Forum execu-
FLEX systems; Liberty Bridge, Greenville; Union Station, Kansas
tive board. Teaches professional continuing education, graduate,
City. Awards: Architectural Lighting, International Association
and undergraduate courses. BFA, BArch, RISD.
of Lighting Designers, IESNA. Member: AIA, IALD, IESNA,
Pamela Kladzyk architectural historian and artist. Research
Light Fair International. BFA, Environmental Design, Kansas City
focuses on the visual language of material culture, Native
Art Institute.
American contributions to contemporary design, and revivals
Kimberly Ackert architect; principal, Ackert Architects.
and hybrids of sustainable housing. Published: “Native American
Awards: Mercedes T. Bass Rome Prize. Published: 40 Under 40, New
Women Designers,” in Pat Kirkham, Women Designers in the USA,
York Times Magazine, Green Architecture USA, Interiors, Architectural
1900–2000: Diversity and Difference. Exhibitions: New York Design
Review, Architecture Australia, House & Garden. Ackert has worked
Center; A.I.R. Gallery, NY. BFA, University of Michigan; MFA,
for Skidmore, Owings and Merrill and Richard Meier and Partners.
Eastern Michigan University; PhD, Catholic University, Lublin.
BArch, California Polytechnic State University.
Margaret Maile architectural and lighting design historian.
Craig A. Bernecker founder and director of the Lighting
Scholarly focus is on the performance and promotion of modern
Education Institute. Former director of the Lighting program,
architecture, the experience of modernity, and mass culture.
Department of Architectural Engineering, Pennsylvania State
Awards: Bernard and Irene Schwartz Foundation, Richard
University. Former president and board member, IESNA; board
Kelly grant, Clive Wainwright thesis award, Edward Lee Cave
member, International Commission on Illumination; former
Foundation. Publications: “Illuminating the Glass Box,” in JSAH,
board member, Lighting Research Institute. Published: Lighting
“The Seagram Building” in PLD; and articles in Architectural
Design+Application, Lighting Research and Technology, Journal of the
Lighting magazine. MA, PhD candidate, in Lighting Design
Illuminating Engineering Society, IESNA Lighting Education series.
History, Bard Graduate Center.
Published extensively on psychological aspects of lighting. PhD
in Psychology, MS in Architectural Engineering, Pennsylvania
State University.
96 LIGHTING DESIGN
Caroline Razook designer, Rogers Marvel Architects. Thomas Thompson IALD; principal, Thompson + Sears, LLC,
Current projects: Theory headquarters and showrooms. Member, architectural lighting firm with more than 600 completed projects
Architectural League of New York. Published photographs: throughout the United States, Asia, the Middle East, Europe, and
Modulus 25, Industrial Intersections, Virginia, 1999; Design South America. Projects: Samsung Roding Pavilion and historic
Build Project, Brooklyn, 2003. Eileen Gray Thesis Prize, 2004. preservation of the Hoboken train station’s main waiting room.
Instructor, Summer Intensive Studios in Architecture, Parsons, BAE, Pennsylvania State University.
2004. BS Arch, University of Virginia; MArch with concentration Linnaea Tillett IALD; principal, Tillett Lighting Design.
in Lighting Design, Parsons. Specializes in security and perceptions of safety in settings that
Nathalie Rozot multidisciplinary planning and design serve multiple needs and diverse users. Projects: collaborations
consultant on large-scale projects in lighting design, exhibit with Olin Partnership, Maya Lin Studio, Cooper Robertson,
design, architecture, landscape architecture, and urban plan- Quennell Rothschild; award-winning public art with Kiki Smith
ning. Projects: L’Observatoire International; Miami International and Lebbeus Woods. PhD, Environmental Psychology, City
Airport; TKOTL residential complex, Hong Kong; Bayou River University of New York.
revitalization, Houston. Exhibited: Paris, Rome, New York, Attila Uysal IALD; principal, Susan Brady Lighting Design.
and Osaka. Projects include hospitals, airports, transportation facilities,
Leni Schwendinger principal, Leni Schwendinger Light corporate interiors, retail stores and showrooms, façade lighting,
Projects Ltd. Clients: state and municipal agencies, architectural private residences, and restaurants. Recipient of the Turkish
and engineering firms, museums, and events planners. Projects: Republic Ministry of Education’s scholarship for industrial
Chroma Streams; Tide and Traffic, a site-specific integrated light design studies in the United States. BArch, Middle East Technical
installation in Glasgow; and the Coney Island Parachute Jump. University, Ankara, Turkey; MA, Industrial Design, Pratt Institute.
Certificate, London Film School. Alexa Griffith design historian specializing in the history
Amy Sharp artist, producer. Projects: National Flag of and theory of the modern domestic interior. Grants: Graham
Mourning, Reel President, Hope Project, Mary Ellen Strom and Foundation; NYSCA; Craft, Creativity, and Design Grant; Society
Ann Carlson’s Geyser Land, and International Film Seminar’s for the Preservation of American Modernists. Published: Journal
Digital Flaherty seminar. BFA, Aquinas College; MFA, School of of Design History, Metropolitan Museum of Art’s Timeline of Art
the Museum of Fine Arts, Boston and Tufts University. History, I.D., Dwell. BA, Smith College; MA, Bard Graduate Center
Joel Siegel IES, AMA, lighting engineer; Vice President of for Studies in the Decorative Arts.
marketing and sales, Edison Price Lighting, Inc. Has also taught James Yorgey LC; technical applications manager, Lutron
at City College of New York and the Mechanical Institute of New Electronics Company. Member, IEEE; IESNA (former chairman of
York. Published: Lighting Design Association Journal. Holds several the Energy Management Committee); ASHRAE/IESNA Standard
patents for lighting products. BS, City University of New York; BA, 90.1 Project Committee for Energy Efficient Design of New
City College of New York. Buildings, ASHRAE/IES Standard 100P Project Committee, for
David Singer principal, Arc Light Design. Published projects: Energy Conservation in Existing Buildings. BS, Pennsylvania
Harley-Davidson Café, NY; Zen Palate, NY; Hyatt Regency, Osaka; State University.
Bar Bat, Hong Kong. Lumen Award of Merit with Distinction
for Civic Service, Central Wing School of Architecture lighting
design, Pratt University (Steven Holl, architect). BA, MArch,
Washington University.
Matthew Tanteri IALD; principal and lighting designer,
Tanteri + Associates. Awards: Lumen Award for Chanel Ginza,
Tokyo; IALD Lighting Design Award for Luminous Arc (with
James Carpenter and Richard Kress). Projects: U.S. retail stores of
Issey Miyake, Versace, Chanel. BA, Cooper Union; MFA, Parsons.
LIGHTING DESIGN 97
PHOTOGRAPHY
The graduate Photography program functions as a 21st-century RECENT VISITING ARTISTS

studio and think tank. Students are encouraged to develop their Max Becker and Andrea Robbins
individual vision in a collaborative, interdisciplinary environment Slater Bradley
and to explore related technologies, focusing on the relationship Daniel Conogar
between concept and production. A rigorous critique process and Sarah Charlesworth
regular meetings with faculty, professional artists, and visiting Tim Davis
critics help students develop individual points of view and situate Shannon Ebner
themselves and their work within larger historical, theoretical, and Anna Gaskell
contemporary visual contexts. Anthony Goicolea

Neil Goldberg
The goal of the 26-month program is to educate students about the Dan Graham
evolving creative role of the photographer, particularly in relation Matthew Higgs
to emerging imaging technologies and new media. This curriculum Simen Johan
gives students a foundation in both the developing language of Glen Luchford
photography and the technology driving it. Graduates are pre- Jessica Craig Martin
Carolee Schneemann
pared to define the creative role of photography within contempo-
Gary Scheider
rary culture, whether as scholars or practicing artists.
Collier Schorr
The Parsons photography program is distinguished by the diversity Laura Simmons
of its participants and of the perspectives and styles they bring to Zoe Strauss
their work. Most applicants accepted to the program have under- Javier Tellez
graduate or graduate degrees in photography, video, or related Catherine Wagner

Lawrence Weiner
media. Those with degrees in an unrelated discipline should have
Charlie White
considerable experience working in the field.

www.newschool.edu/parsons and go to Degree Programs: Right Jeremy Dyer, untitled,
Photography, Graduate. digital fiber print
98 PHOTOGRAPHY
PHOTOGRAPHY 99
CURRICULUM ELECTIVE COURSES
Departing from the traditional semester format, the 64-credit History of Representation explores
program combines technical and academic studies with studio historical trends in pictorial represen-
tation and representational media to
work. The program begins with an eight-week intensive summer
shed light on contemporary practices.
session in residence at Parsons, the first of three. Fall and spring Through readings, discussion, and
semesters complement the intensive summer sessions, with research, students explore historical
students engaged in independent study under the supervision of cultural standards that have defined
fact, reality, and truth. Students
a faculty member. During the fall and spring semesters, students examine the role of the photograph in
also fulfill course requirements, either in residence or via the contemporary culture and identify
latest distributed-learning technologies. Each fall and spring cultural standards in a postphotographic
digital world.
semester culminates in a five-day intensive residency in January
Art Since Lunch: A Postmodern
and June respectively.
Debate on What Is the Next “Ism”
Unlike traditional art history classes,
REQUIRED COURSES which focus on the past, this course is
Graduate Studio: students explore personal direction under the aimed at predicting and shaping the
supervision of a faculty advisor. Students meet twice a week with future. Students critically analyze the
current debate about photography and
the advisor and attend regular critiques with their peers. The the images being produced at the dawn
Graduate Advisory Committee assesses each student’s progress of the 21st century and examine the role
at the end of each semester. of technology in photographic produc-
tion and dissemination and the way that
Graduate Seminar I–III uses the artistic and intellectual resources affects the global visual marketplace.
of the city to explore contemporary issues in art and photography. Intellectual Property in the Digital
Age explores this rapidly changing field
Some semesters focus on a specific topic. In others, students meet
through readings, lectures, and panel
with visiting professionals who critique their work and introduce discussions. Students examine current
critical and theoretical topics for discussion and research. copyright, trademark, and art laws as
they relate to photography.
Students’ interactions with these visiting professionals exposes
Foucault’s Pendulum investigates
them to diverse viewpoints and provides networking opportunities.
aspects of contemporary photographic
Independent Studio I–IV continues the personal studio work practice and theory. Students examine
the relationship between theory and
initiated in Graduate Studio. Students maintain regular contact praxis and, more specifically, the way
with their advisor through the online Cyber-Community Conference. practitioners use theory in making their
Each semester’s independent studio work culminates in a work. We read and discuss writings by
both practitioners and theoreticians
weeklong residency in January or June, during which group and
as a response to and indicator of visual
individual critiques are conducted and the Graduate Advisory theory. Emphasis is placed on applying
Committee assesses students’ work. this knowledge to individual practice
within the context of contemporary art
Wired Studio is a skills acquisition course that introduces participants and photographic discourse.
to new photographic technologies and working methods. This
course explores the expanding capabilities and possibilities of
image-making tools for all areas, ranging from alternative processes
to the purely digital environment.
Thesis and Exhibition prepares students for the thesis exhibition.

Working closely with their advisors and graduate committee, students
compose a written statement about their exhibits and complete an
oral examination with the Graduate Advisory Committee.
100 PHOTOGRAPHY
George Pitts
Chair
photography
George Pitts is an award-winning photography director, painter, and
essayist and a renowned teacher whose work spans the fine art, commer-
cial, and fashion worlds. Pitts has been a Parsons faculty member since
1998 and will become chair of the Photography Department this year.
In addition to teaching at Parsons, Pitts has held a number of
prominent positions, including director of photography at Vibe maga-
zine, where he received three National Magazine Award nominations
for Best Photography. Of his work at Vibe he says, “It was an important
job because it brought unprecedented visibility to my contributions as a
photo editor. We endeavored to bring sophisticated and authentic visual
approaches to the documentation of African-American culture that
would also have broad appeal for all Americans and readers throughout
the world.”
Whether teaching, photo editing, writing, or making images, Pitts
consistently demonstrates a keen aesthetic sense and the ability to work
graciously with people of all backgrounds. As the incoming chair, Pitts
will uphold the high standards of the department.
open studios top Ana da Cavalli, Untitled, c-print
Open studios take place three times a year and are an excellent
opportunity for students to introduce their work to public. They
provide a space for dialogue with working artists, gallerists,
curators, and industry professionals from New York City, and are
often accompanied by individual and group critiques with visiting
artists and scholars. Students also present regular exhibitions in
the student-run Three Gallery and have the opportunity to exhibit
a thesis project.
PHOTOGRAPHY 103
Sean Simpson, American Gothic #3,
pigment on canvas
104 PHOTOGRAPHY
top left Patti Hallock, Pool Table, top right Kara Healey, untitled,
digital c-print gelatin silver print
bottom left Jeremy Dyer, untitled, bottom right Haley Samuleson, Levitation,
digital fiber print digital c-print
PHOTOGRAPHY 105
Photography Faculty
George Pitts chair. Fine art photographer, painter, and Sammy Cucher photographer specializing in digitally based
writer. Former director of photography at LIFE and Vibe images; collaborator on the team Aziz + Cucher. Exhibitions and
magazines. Writing and art: Partisan Review, Paris Review, S, Big, collections: New Museum of Contemporary Art; Cooper-Hewitt,
One World, Vibe, aRude, Juxtapose, Next Level: a critical review of National Design Museum; Venice Biennale; Biennale de Lyon,
Photography. Photographs: New York Times Magazine, Werk, New ICP; San Francisco Museum of Modern Art; Reina Sofia Center
York Magazine, Clam, Premiere, Spin, Talk, Raygun, Paper, Nerve, for Contemporary Art; Los Angeles County Museum of Art;
Manhattan File, Voidek, Gotham, Vice, E Design, Graphis Photo National Gallery of Berlin; National Gallery of Australia. MFA,
Annual 2000, American Photography (Vols. 16, 18, 19) Masterminds San Francisco Art Institute.
of Mode, Nerve: The New Nude (Chronicle), and The New Erotic Simone Douglas artist working in photography, video
Photography (Taschen). and installation. Solo exhibitions: Photographers Gallery
James L. Ramer director of the graduate program. and Rebecca Hossack Gallery, London; National Art Gallery
Photographer and installation artist. Exhibitions: David Lusk of Poland; HUG Gallery for International Photography,
Gallery, Tennessee; Contemporary Museum, Maryland; Rupert Amsterdam; IDG, First Draft Gallery, and 4A Gallery, Sydney.
Goldsworthy Gallery, New York; Old Dominion University, Collections and group exhibitions: Victoria and Albert Museum,
Virginia; Southern Illinois University. Collections: Assisi London; Museum of Contemporary Art, Australian Centre for
Foundation, Promus Corporation, Schering-Plough Inc. MFA, Photography, and NSW Art Gallery, Sydney; National Gallery of
Memphis College of Art. Victoria, Melbourne; CAFA, Beijing. BA, Sydney College of the
Anthony Aziz artist and photographer specializing in digital Arts, University of Sydney; MFA and Grad. Dipl. in Professional
imaging, sculpture, video and architectural installations; Art Studies, University of New South Wales.
collaborator on the team of Aziz + Cucher. Exhibitions and col- Keith A. Ellenbogen photographer, videographer, and
lections: New Museum of Contemporary Art; Cooper-Hewitt, digital artist specializing in underwater marine life, nature, and
National Design Museum; Venice Biennale; ICP; SF MoMA; Reina the environment with emphasis on streaming media. Awards:
Sofia Center for Contemporary Art; LA County Museum of Art; American Society Media Photographers Best of 2007; Fulbright
National Gallery of Berlin; National Gallery of Australia. Awards: Fellowship. Projects and clients: Expedition New England
Pollock Krasner Award, NEA, NYFA. Featured: New York Times, Aquarium, Fiji, a PSA campaign about coral reefs for Philippe
Village Voice, Art in America, ArtForum, ArtNews, FlashArt, Frieze, Cousteau; and EarthEcho International. MFA in Design and
Parkett. MFA, San Francisco Art Institute. Technology, Parsons.
Martha Burgess photographer, installation and new Craig Kalpakjian fine artist. Solo exhibitions: Andrea
media artist. Exhibited: Rice University Gallery, Houston; Rosen Gallery, NY; Galerie Edward Mitterrand, Geneva;
Gary Tatintsian Gallery, NY; Riva Gallery, NY; Contemporary M-Projects, Paris; Robert Miller Gallery, NY. Group exhibitions:
Museum, Baltimore; PS1, NY; University of Connecticut Center Sculpture Center, NY; Galerie Max Hetzler, Berlin; Whitney
for Visual Art and Culture; FotoFest, Houston. Fellowships: Museum, NY; SF MoMA; Delfina Gallery, London. Collections:
Guggenheim; Jerome Foundation; NYFA; Epson Corporation; Centre Pompidou; Metropolitan Museum of Art; New Museum
Scitex Corporation; Ford Foundation; Macdowell Colony; PS1; of Contemporary Art; SF MoMA. Publications: Digital Art;
Fannie B. Pardee Prize, Yale. Clients: Tibet House; Merrill Lynch Architecture; New York Times Magazine; Financial Times; Frieze;
Video Network; Skidmore Owings & Merrill Architects; NNY; Village Voice; Tate, The Art Magazine; Time Out New York. BA,
Sony Audio; IBM; American Express, Eisenman Architects. University of Pennsylvania.
MFA, Yale.
106 PHOTOGRAPHY
Charles LaBelle artist investigating the intersection of Arthur Ou photographer, multimedia artist. Solo exhibitions:
place and subjectivity using a variety of media—photography, Hudson Franklin, NYC; IT Park Gallery, Taipei; Taipei Fine Arts
video, drawing, and sculpture—as well as action-based and Museum. Group exhibitions in Los Angeles, New York, Chicago,
site-specific works. Exhibitions: Para/Site Central, Hong Kong; London, Vancouver, Dresden and Beijing. Publications: Blind Spot,
Anna Kustera, Neuberger Museum, and Artist’s Space, NY; Art on Paper, Art in America. BFA, Parsons; MFA, Yale School of Art;
San Francisco Art Institute; Hyde Park Art Center, Chicago. also studied civil engineering, University of California at Irvine.
Publications: Time Out Chicago, Artforum, Art Papers, Art Review, Cay Sophie Rabinowitz senior editor of Parkett.
New York Times. BA, UCLA; graduate study, UCLA Film School. Contributing writer: Afterall, Art Papers, Boiler, Self Service.
Miranda Lichtenstein fine artist, photographer. Solo Author of catalog texts on Monica Bonvicini, Sabine Hornig,
exhibitions: UCLA Hammer Museum and Mary Goldman Rita McBride, Thomas Schutte. Research areas: rhetoric and
Gallery, LA; Whitney Museum at Philip Morris, Elizabeth aesthetics, Dada in Berlin, ethnography, propaganda. Has also
Dee Gallery, and Leslie Tonkonow, NY; Gallery Min Min, taught at Emory University, and California Institute of the Arts.
Tokyo. Group exhibitions: Creative Time and New Museum Christian Rattemeyer associate curator, Department of
of Contemporary Art, NY; Yerba Buena Center for the Arts, Drawings, Museum of Modern Art. Previously curator at Artists
SF; Museum of Contemporary Art, Miami; Staedhaus Ulm, Space, communication editor for Documenta 11 in Kassel,
Germany. Collections: Guggenheim Museum; Hirshhorn Germany, and founder and co-director of OSMOS, an indepen-
Museum; New Museum of Contemporary Art; Madison Museum dent project space in Berlin. Regular contributor to Parkett,
of Contemporary Art; Neuberger Museum of Art. MFA, Texte zur Kunst, Artforum, and Art Papers. Curated Film and
California Institute of the Arts. Architecture festivals in Berlin, Los Angeles, London, and New
Stacy Miller artist and educator with management experi- York. MA, Free University of Berlin; PhD (ABD), Columbia.
ence in education, teacher training, museum education, and Type A the collaboration of ADAM AMES (BA, UPenn;
art research. Previously director of research and professional MFA, SVA) and ANDREW BORDWIN (BA, NYU). This team’s
development at the College Art Association. Co-founder of video, installation, photography, sculpture, and drawing deal
the Heritage School, an alternative public arts and technology with issues of masculinity, competition and collaboration in
high school in NYC. Doctoral candidate, Columbia; Master of contemporary society. Exhibitions: Luckman Fine Art Complex,
Museum Leadership, Bank Street College of Education; BFA, California State University; Walker Art Center, Minneapolis; Art
Massachusetts College of Art. in General, NYC; Addison Gallery of American Art, Andover;
Carlos Motta editor of artwurl.org editor; photographer Indianapolis Museum of Art; List Visual Arts Center at MIT;
and video installation artist. His work uses strategies from Centrum Beeldende Kunst, Rotterdam; Centro de la Imagen,
documentary filmmaking and sociology to engage political Mexico City; Contemporary Art Center, New Orleans; Institute
events and suggest alternative ways to write and read their of Contemporary Art, Palm Beach; and UCLA Hammer
histories. Solo exhibitions: Art in General (upcoming), LMCC Museum, LA.
and Winkleman Gallery, NY; Konsthall C, Stockholm; rum46,
Denmark; Kevin Bruk Gallery, Miami; La Alianza Francesa,
Colombia. Group exhibitions: Artists Space, CCS Bard Hessel
Museum of Art, and El Museo, NY; Fries Museum, Holland;
Palazzo delle Papesse, Italy; Musee de Elysee, Switzerland;
TEOR/eTica, Costa Rica. MFA, Bard College; Whitney
Independent Study.
PHOTOGRAPHY 107
PARSONS THE NEW SCHOOL FOR DESIGN degree programs
Parsons prepares students to be independent thinkers Parsons offers the following degree programs:
who creatively and critically address the complex human condi-
Bachelor of Fine Arts (BFA) in: Architectural Design,
tions of 21st century culture. We are creating a diverse learning
Communication Design, Design and Technology, Fashion Design,
environment for developing intelligent and reflective practices
Fine Arts, Illustration, Integrated Design, Interior Design,
through studio-based research and critical scholarship in order to
Photography, and Product Design. (There is a five-year BA/BFA
make meaningful and sustainable contributions to contemporary
dual degree program in each of these areas of study; speak to an
global societies. As a division of The New School, Parsons builds
admission counselor about the dual degree program.)
on the university’s legacy of progressive ideals, scholarship,
and educational methods. Our faculty challenges convention Bachelor of Business Administration (BBA) in Design
through a setting and philosophy that encourages formal experi- and Management.
mentation, nurtures alternative world-views, and cultivates
forward-thinking leaders and creative professionals in a world Bachelor of Science (BS) in Environmental Studies.
increasingly influenced by art and design.
Associate in Applied Science (AAS) in: Fashion Marketing,
The New School was founded in 1919 a “center for discussion, Fashion Design, Graphic Design, and Interior Design.
instruction, and counseling for mature men and women.” It is
Master of Fine Arts (MFA) in: Design and Technology, Lighting
today a thriving urban university offering undergraduate and
Design, Interior Design,* Fine Arts, and Photography.
graduate degrees in the liberal arts and social sciences, design,
and the performing arts. The New School is a privately supported Master of Architecture (MArch).
university chartered by the Board of Regents of the State of New
York. Its degree and certificate programs are approved by the Master of Arts (MA) in History of Decorative Arts and Design.
state’s Division of Veterans Affairs.
Master of Architecture/Master of Fine Arts in Lighting Design
The New School is fully accredited by the Commission on Higher (MArch/MFA).
Education of the Middle States Association of Colleges and
The following master’s degree programs are
Schools. Parsons The New School for Design is also accredited by
in development:
the National Association of Schools of Art and Design, and the
Master of Fine Arts (MFA) in: Fashion Design and Society,* and
graduate programs in architecture by the National Architectural
Transdisciplinary Design.*
Accrediting Board.
Master of Arts (MA) in Fashion Studies.*
Facts about Parsons
—Founded in 1896 by New York City artist William Merritt Chase Master of Science (MS) in Design Management.*
and associates.
Other Academic Programs
—Named in 1936 for longtime president Frank Alvah Parsons, Parsons offers a variety of programs for non-matriculated
who devoted his life to integrating visual art and industrial students of all ages: Summer Intensive Studies (pre-college
design. and college-level) in New York City and Paris; Continuing
Education (certificate programs and general art and design
—Became a division of The New School in 1970. Located in education for adults); Parsons Pre-College Academy (certificate
Greenwich Village, New York City. programs and general art and design education for young
—Current enrollments: Parsons enrolls nearly 4,000 students in people, grades 4–12).
its undergraduate and undergraduate degree programs. The New Visit the website at www.newschool.edu/parsons
School as a whole enrolls nearly 10,000 matriculated students. for more information.
—The Parsons faculty includes more than 125 full-time and 1,000 * New York State approval pending.
part-time members respectively. The majority of faculty members
are working professional artists and designers.
110 INFORMATION
Institutional information VISIT US, TALK TO US
The New School is committed to creating and maintaining There is no better way to learn about Parsons and to get answers
an environment of diversity and tolerance in all areas of to your questions than to visit and see for yourself. The office of
employment, education, and access to its educational, artistic, admission schedules various information sessions and work-
and cultural programs and activities. The New School does shops throughout the year, and Parsons representatives travel to
not discriminate on the basis of age, race, color, sex, sexual other cities in the USA and other countries to meet prospective
orientation, religion, mental or physical disability, national, students and discuss our programs of study, costs and financial
or ethnic origin, or citizenship, marital, or veteran status. aid opportunities, and career directions.
The New School provides the following institutional informa- graduate open studios at parsons
tion on the university website www.newschool.edu: Family Visit www.newschool.edu/parsons for more information on dates
Educational Rights and Privacy Act (FERPA); financial assistance and times.
information (federal, state, local, private, and institutional need-
Master of Architecture
based and non-need-based assistance programs, Title IV, FFEL,
25 East 13th Street, 2nd floor
Direct Loan deferments); institutional information (fees, refund
policies, withdrawing from school, academic information, dis- MFA Design and Technology
ability services for students); completion/graduation rates and 2 West 13th Street, 10th floor
transfer-out rates (graduation rate of degree-seeking students,
transfer-out rates of degree-seeking students). To request copies MFA Fine Arts
of any of these reports, please contact the appropriate office listed 25 East 13th Street, 5th floor
on the website.
MFA Interior Design and Lighting Design
25 East 13th Street, 3rd floor
STUDENT FINANCIAL SERVICES
The New School provides a comprehensive program of financial MFA Photography
aid services for graduate students, including significant insti- 66 Fifth Avenue, 5th floor
tutional scholarship support based on merit and need. The New
School also participates in federal and state aid programs, includ- MA History of Decorative Arts and Design
ing the Federal Family Educational Loan programs and New York Cooper-Hewitt, National Design Museum
State Tuition Assistance Program (TAP). 2 East 91st Street
All applicants for admission should apply for financial aid graduate portfolio days
if they feel they have a need for it. For information about Eastern Graduate Portfolio Day
scholarships, loans, on-campus employment, and more, visit Saturday, October 3, 2009, 12:00–4:00 p.m.
www.newschool.edu/studentservices/financialaid. Parsons The New School for Design
New York, NY
Note: The New School offers a monthly plan that allows families
to spread tuition payments throughout the year. For more Western Graduate Portfolio Day
information on payments and payment arrangements, visit the Saturday, October 17, 2009, 12:00–4:00 p.m.
Student Financial Services website at San Francisco Art Institute
www.newschool.edu/studentservices/financialaid. San Francisco, CA
Estimated Academic Year Expenses 2009–10 Central Graduate Portfolio Day

Graduate Tuition*................................................................... $36,120 Sunday, November 8, 2009, 12:00–4:00 p.m.
University Services Fee................................................................. 200 School of the Art Institute of Chicago
Divisional Fee................................................................................. 80 Chicago, IL
Health Services Fee**.................................................................... 500
Visit www.gradportfolioday.org for more information.
Health Insurance Fee**................................................................1,714
Room and Board***................................................................... 15,260
Books and Supplies***............................................................... 2,050
Personal Expenses***..................................................................1,550
Transportation............................................................................. 684
Total ....................................................................................... $58,168
* Except the graduate Photography program.
**All full-time matriculated students are automatically charged a

Student Health Insurance Fee and a Student Health Services Fee.
Students covered by other insurance can decline these services by
submitting a waiver form.
***Actual costs may vary widely for individuals.
INFORMATION 111
ApplY
To apply for admission to a graduate program at Parsons, go
to www.newschool.edu/parsons/apply and use the online
application form. Applications must be submitted online only.
Found objects collected in Parsons studios (material
samples,
deadlines:tools, reference
February 1 documents, process artifacts)
and samples
Applicants forofArchitecture,
student andFinefaculty
Arts,work. STILL FRAMEmust
and Photography
(front cover, center): Faculty member Brian McGrath
submit a complete application packet by February 1.
and Mark Watkins, from urban-interface, Manhattan
Timeformations , exploded
Design and Technology, still-frame
Interior from interactive
Design, Lighting Design, and
web-site
History ofcreated
DecorativeforArts
the and
Skyscraper Museum,
Design accept 2000. on a
applications
INTERIOR IMAGE (back cover, lower right): Amanda Toles
rolling basis, but applicants who wish to be considered for a
and Martina Sencakova, 25 E.13th Street, digital rendering,
Dean’s Scholarship must submit a complete application packet
2008. Collage by mgmt. design.
by February 1.
admission inquiries
For all graduate programs, please contact
Parsons The New School for Design

Graduate Admissions
72 Fifth Avenue
New York, NY 10011
Telephone 212.229.8989 or
877.528.3321 (toll-free in the United States)
Email parsadm@newschool.edu
INTERNATIONAL STUDENTS
This school is authorized under Federal law to enroll
non-immigrant alien students. Students whose native language
is not English are must submit acceptable minimum scores
on the TOEFL. Documentation necessary to obtain a visa
to enter the United States will be provided after a student has
been accepted into a degree program.
follow us online
www.facebook.com/thenewschool
www.twitter.com/thenewschool
The information published here represents the plans of The New School at the
time of publication. The university reserves the right to change without notice
any matter contained in this publication, including but not limited to tuition,
fees, policies, degree programs, names of programs, course offerings, academic
activities, academic requirements, facilities, faculty, and administrators.
Payment of tuition or attendance at any classes shall constitute a student’s
acceptance of the administration’s rights as set forth above.
Published 2009 by Parsons The New School for Design
Produced by Communications and External Affairs, The New School
Design: mgmt.design
Photography: Portraits by Matthew Septimus; cover and

section dividers by Matthew Sussman; photographs of student
work by Caitlin Benedetto, Jeff Brown, John Roach.
112 APPLY
www.newschool.edu/parsons

2009 2010 Parsons Graduate Viewbook

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2009 2010 Parsons Graduate Viewbook

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parsons

the new school

Although our graduate programs offer advanced training in specialized courses

Learn more at www.newschool.edu/parsons.

4 PARSONS THE NEW SCHOOL FOR DESIGN

As a division of The New School, Parsons builds on the university’s legacy of

Notable PArsons Alumni

Peter de Sève illustrator Steven Meisel photographer

6 PARSONS THE NEW SCHOOL FOR DESIGN

THE NEW SCHOOL

THE NEW SCHOOL

THE NEW SCHOOL

EUGENE LANG COLLEGE

A Parsons education isn’t just a series of isolated classes—it’s a fully immersive

8 PARSONS THE NEW SCHOOL FOR DESIGN

AMERICAN MUSEUM OF THE METROPOLITAN MUSEUM OF ART

LINCOLN CENTER THE GUGGENHEIM MUSEUM

CENTRAL PARK THE WHITNEY MUSEUM

NEW YORK CITY

PARSONS THE PUBLIC THEATER

THE NEW MUSEUM

TRIBECA FILM FESTIVAL

An international outlook has always been a key ingredient of Parsons’ success. In

sponsored projects built into the curriculum.

10 PARSONS THE NEW SCHOOL FOR DESIGN

At Parsons, we expand the frontiers of design, addressing needs at scales

Every day I am inspired by Parsons’ remarkable faculty and students. Witnessing

Joel Towers, Dean

–Free wireless Internet is available –The Kellen Archive is an extensive collection

STUDENT RUN NEWSPAPER

Housing International Student Services

Parsons and The New School are committed to

SOME Recent guest lecturers and visiting artists

Lorna Simpson artist and photographer

Graduate Degree Programs in Development*

Master of Fine Arts in Transdisciplinary Design

Master of Fine Arts in Fashion Design and Society

Master of Science in Design Management

Parsons offers graduate programs in a number of disciplines for qualified designers

* New York State approval pending.

One of the Architecture program’s highlights is the Design

The program’s small size (72 students) and atelier atmosphere

pivotal role in shaping culture. Winka Dubbledam Architectonics

the role of architecture in constructing social relations by asking Charles Gwathmey

Admission to the program is handled

Postprofessional Degree Students who already hold a BArch

Other recent Design Workshop projects include a convertible art

right bottom Perla Kristinsdottir, 125th St.

left bottom Douglas Segulja & Ian Mueller,

For complete curriculum, faculty, and course information, visit

40 DESIGN AND TECHNOLOGY

42 DESIGN AND TECHNOLOGY

Major Studio: Interaction Students design “screen-based”

Major Studio: Narrative This course focuses on new narrative

Major Studio: Computation Students explore the use of digital

DESIGN AND TECHNOLOGY 43

Monster Quest is a user-generated content website for children

Internet Famous is dedicated to spreading work on the Internet,

Jazz and Animation gives students the opportunity to work with

Supernormal Futures Students work with graduate architecture

44 DESIGN AND TECHNOLOGY

The program recently announced the launch of PETLab, the first

DESIGN AND TECHNOLOGY 47

–Free wireless Internet is available –The Kellen Archive is an extensive collection